Visitors’ perceived contribution of

Visitors’ perceived contribution of

South African arts festivals to the Arts

Susanna Cornelia Pretorius

21198063

Hons B.Com

Dissertation submitted in fulfillment of the requirements for the

degree Magister Commercii in Tourism Management at the North West University

(Potchefstroom Campus)

Supervisor: Dr. P. Viviers

Assistant supervisor: Dr. K. Botha

Potchefstroom

November 2012

i

DECLARATION LETTER

I, Susanna Cornelia (Corné) Pretorius, identity number 8811240162083 and student number

21198063, hereby declare that this research submitted to the North West University, for the

Master study in article format: Visitors’ perceived contribution of South African arts festivals to

the Arts, is my own independent work; and complies with the Code of Academic Integrity, as

well as other relevant policies, procedures, rules and regulations of the North West University;

and has not been submitted before to any institution by myself or any other person in fulfilment

(or partial fulfilment) of the requirements for the attainment of any qualification.

_________________________ __________________________

CORNé PRETORIUS DR. PIERRE-ANDRé VIVIERS

(Head Supervisor)

_________________________ _________________________

DATE DATE

DECLARATION LETTER

ii

Financial assistance from the North West University, Potchefstroom Campus, South Africa, is

gratefully acknowledged. Statements and suggestions made in this study are those of the

author and should not be regarded as those of the University.

FINANCIAL ASSISTANCE

iii

Firstly, I wish to thank our Heavenly Father for giving me the strength and knowledge to

complete this dissertation.

Secondly, I would like to thank both of my study leaders, Dr. Pierre-André Viviers and Dr. Karin

Botha, for their insight and encouragement, their leadership and assistance during this year.

Their doors were always open and they motivated me with their friendliness and effective

feedback. Particular thanks are due to Dr. Viviers, who guided me through both my Honours

and Masters years.

Thirdly, Mr. Malcolm Ellis whose language editing of this document is greatly appreciated.

Fourthly, I must thank Ms. Marike Krugell for the statistical data analysis that was used in this

research.

Fifthly, I would like to thank KKNK, Innibos and Vryfees organisers for making my research

possible at their festivals.

My gratitude is also extended to the fieldworkers at each of the surveys who ensured even

distribution and completion of the questionnaires used for this research:

Fieldworkers at KKNK: Mr Q Hanekom, Ms I De Villiers, Ms D Ehlers, Ms W Louw,

Ms M Fourie, Ms M Le Roux and Ms J De Clercq

Fieldworkers at Innibos: Ms D Venter, Ms N Jacobs, Ms M Benade, Ms B Niemand and

Ms B Swanepoel

Fieldworkers at Vryfees: Ms C Westhoff, Ms W Louw, Mr Q Hanekom, Ms A Vorstman

Mr W Wessels, Ms J De Clercq and Ms N Van Niekerk

It would be remiss of me to omit to thank the most important people in my life, my parents.

Thank you for your motivation, open hearts and warm smiles that always encouraged me to

complete the study.

ACKNOWLEDGEMENTS

iv

And finally, special thanks are due to my friends and colleagues, Lana Kriel, Armand Viljoen,

Marco Scholtz, Kiera Seymour and Bianca Manners. Your friendship has inspired and

comforted me through the hard work of this year.

v

SUMMARY

Visitors’ perceived contribution of South African arts festivals to the Arts

Key terms: arts contribution, arts festival, Innibos, Klein Karoo National Arts Festival (will be

referred to as KKNK from hereon), perception, performing arts, visual arts, Vryfees

The primary goal of the study was to determine the contribution of three distinct South African

arts festivals to the arts, namely Klein Karoo National Arts Festival (KKNK), Innibos and Vryfees

arts festivals as perceived by visitors to the festivals. To achieve this goal, five objectives were

formulated. Firstly, to provide a literature overview of the arts phenomena, by exploring the

relationship between arts and culture, the arts context, the arts-related tourism product and then

the perceived contributions of arts festivals to the arts; secondly, to determine the perceptions

that the visitors to Klein Karoo National Arts Festival (KKNK) have regarding the festival’s

contribution to the arts and whether the perceived contributions differs according to the socio-

demographic characteristics of the visitors to KKNK; thirdly, to determine the perceived

contribution of Innibos Low Veld National Arts Festival (Innibos) and Vryfees Arts Festival

(Vryfees) to the arts and, here, to analyse possible differences regarding festival visitors’

involvement in the arts according to their arts preferences; fourthly, to determine the perceived

contribution of arts festivals in South Africa to the arts at three arts festivals, namely the KKNK,

Innibos and Vryfees festivals, and then to analyse whether or not the festivals differ in terms of

their contribution to the arts; and lastly, to draw conclusions from the research and to make

recommendations regarding the contributions that these selected South African arts festivals

make to the arts.

The first objective was achieved by conducting a literature study. Literature was analysed to

identify the relationship between arts and culture when defining the arts. The arts were then

placed in the arts festival context; explaining and identifying different art forms that can be

present at these events, where after the arts related tourism products were explored with a

particular focus on arts festivals. Six contributing factors that arts festivals have for the arts were

identified from the literature and each was discussed separately. The contributing factors

discovered include the emotional contribution, educational contribution, economic contribution,

quality contribution, marketing contribution and the growth and development contribution.

SUMMARY

vi

Achieving the second objective entailed using a destination-based survey administered at

KKNK in Oudtshoorn, Western Cape. An exploratory factor analysis was subsequently

conducted and five factors revealed themselves, being Visual arts enhancement, Performing

arts enhancement, Emotional inspiration, Visual arts involvement and Performing arts exposure.

The factor analysis indicated that KKNK is perceived to contribute to the arts. ANOVAs and t-

tests were undertaken for further statistical analysis to determine differences in perception

between socio-demographic characteristics, such as age, previous arts exposure, arts

preference and geographic location of the visitors to KKNK. As the festival is perceived to

contribute to the arts, implications were structured for the festival to ensure its continuing

contribution to all forms of the arts equally.

The third objective was to determine the contributing factors to the arts of two arts festivals, the

Innibos and Vryfees festivals, and to determine whether or not preference for a particular type of

art might influence personal arts involvement at the festivals. Surveys were conducted at both

Innibos in Mbombela, Mpumalanga and at Vryfees in Bloemfontein, Free State. Separate

exploratory factor analyses and two-way frequency tables were subsequently conducted to

determine the contributing factors of the festivals. This process was followed by independent t-

tests that were used to investigate any statistically significant differences between visitors who

preferred the performing arts and those who leaned towards the visual arts and to their personal

involvement to the arts. The results show some moderate differences between arts preference

and personal arts involvement concerning the purchase of performing and visual arts products

and activities. The results are relevant when the marketing and planning of arts festivals is

considered in order to achieve both better arts contribution and personal arts involvement.

The fourth objective sought to determine the perceived contribution of three Afrikaans arts

festivals, the KKNK, Innibos and Vryfees festivals, to the arts. Differences in contributions

amongst the festivals were analysed and those areas that seemed to lack contribution were

identified. Questionnaire surveys were conducted, whereafter an exploratory factor analysis was

performed to determine by means of factors the perceived contribution at these arts festivals.

ANOVAs were done to determine any statistically significant differences in the contributions of

the three festivals to the performing arts and to the visual arts in terms of each contribution as

identified in literature. The results of this study indicated that the extent of their contribution

varied in terms of both the type and the level of their contribution to the arts they presented. The

results confirm that the visitors to Afrikaans arts festivals in South Africa perceive them as

contributing to the arts. Marketing, programming and planning proposals to effectively increase

the arts contribution at these three festivals were also made.

vii

The final objective, to draw conclusions and make recommendations founded on the results of

the study, indicated that this study made a significant contribution to arts festival planning as it

would lead to the development of arts festivals contributing to the arts more effectively and more

efficiently.

This research made a significant contribution to arts festival research and the contribution that

arts festivals have to the arts, since this is the first of its kind. It was recommended that the

actual contribution of arts festivals to the arts be measured and not merely the contributions

these festivals may appear to have according to the perceptions of festival visitors. It was also

evident that the personal involvement of visitors to the arts festivals must be considered when

evaluating the contribution of the festivals to the arts. Future research on this topic should be

conducted at other arts festivals in order to enable comparative studies. A better understanding

of the contributing factors of the arts festival to the arts will assist festival managers in

implementing strategies that ensures the livelihood and on-going contribution of arts festivals to

the arts. Examining arts festivals based on their perceived contributions has, therefore, proved

useful to comprehensively evaluate the festivals under review and particularly as they seek to

increase their contribution to all types of arts.

viii

Besoekers se persepsie oor die bydrae van Suid-Afrikaanse kunstefeeste tot die Kunste

Sleutelterme: Innibos, Klein Karoo Nasional Kunstefees (hierna verwys as KKNK),

kunstebydrae, kunstefees, persepsie, uitvoerende kunste, visuele kunste, Vryfees

Die primêre doel van die studie was om besoekers se persepsie oor die bydrae van drie

onderskeie Suid-Afrikaanse kunstefeeste, naamlik die Klein Karoo Nasionale Kunstefees,

Innibos en Vryfees kunstefeeste, tot die kunste te bepaal. Om hierdie doel te bereik, is vyf

doelwitte geformuleer. Eerstens, om ’n literatuuroorsig oor die kunste-fenomeen te verskaf deur

die verhouding tussen kuns en kultuur te bepaal; die kunste in konteks te plaas; die kunste-

verwante toerismeproduk, met fokus op die kunstefees, te ondersoek; en die bydraes van die

kunstefees tot die kunste te identifiseer. Tweedens, om die persepsies wat besoekers aan Klein

Karoo Nasional Kunstefees (KKNK) het, ten opsigte van die fees se bydrae tot die kunste, te

bepaal; en of hulle persepsies ten opsigte van dié bydraes van KKNK tot die kunste verskil

rakende geïdentifiseerde sosio-demografiese eienskappe. Derdens, om die kunsbydrae wat

Innibos Kunstefees (Innibos) en Vryfees Kunstefees (Vryfees) tot die kunste maak volgens die

persepsie van die besoekers, te bepaal; en om moontlike verskille, ten opsigte van kuns-

voorkeure van feesbesoekers, te analiseer rakende hul betrokkenheid by die kunste tydens die

fees. Vierdens, om die bydrae van kunstefeeste in Suid-Afrika tot die kunste volgens die

feesbesoeker se persepsie te bepaal deur middel van drie kunstefeeste, naamlik KKNK, Innibos

en die Vryfees; en te bepaal of dié drie feeste verskil in terme van hul bydrae tot die kunste.

Laastens, om gevolgtrekkings te maak gebaseer op die navorsing en om aanbevelings te maak

ten opsigte van die kunste by hierdie geselekteerde Afrikaanse kunstefeeste in Suid-Afrika.

Die eerste doelwit is bereik deur die uitvoer van ’n literatuurstudie. Literatuur is ondersoek om

die verhouding tussen kuns en kultuur te bepaal. Die kunste is binne die kunstefees konteks

geplaas, waar die tipe kuns vorms wat by hierdie feeste voorkom, geïdentifiseer en verduidelik

word, waarna die kunste-verwante toerismeprodukte, met fokus op kunstefeeste, ondersoek is.

Ses kunste bydraes wat kunstefeeste kan hê, is vanuit die literatuur geïdentifiseer, en elk is

kortliks en afsonderlik bespreek. Die bydraes van kunstefeeste tot die kunste sluit in die

emosionele bydrae, opvoedkundige bydrae, ekonomiese bydrae, kwaliteit bydrae,

bemarkingsbydrae en groei en ontwikkelingsbydrae.

OPSOMMING

ix

Om die tweede doelwit te bereik, het die toediening van ’n bestemmingsgebaseerde opname by

die KKNK in Oudtshoorn in die Weskaap, behels. ’n Faktoranalise is gevolglik uitgevoer en vyf

faktore is onthul, naamlik Visuele kunstebevordering, Uitvoerende kunstebevordering,

Emosionele inspirasie, Visuele kunstebetrokkenheid en Uitvoerende kunsteblootstelling. Die

faktoranalise het getoon dat die persepsie bestaan dat KKNK wel tot die kunste bydra. ANOVAs

en t-toetse is uitgevoer vir verdere statistiese analises wat verskille tussen sosio-demografiese

eienskappe van besoekers aan die KKNK bepaal het. Hierdie sosio-demografiese eienskappe

waarop verskille gemeet is rakende feesbesoekers se persepsie, het aspekte soos ouderdom,

vorige kunsteblootstelling, kunste voorkeure en geografiese ligging ingesluit. Implikasies is

gestruktureer vir die fees om te verseker dat verdere bydraes tot alle vorme van die kunste

gelykmatig geskied, aangesien die siening bestaan dat die fees wel tot die kunste by dra.

Die derde doelwit was om die kuns bydraes van twee kunstefeeste, naamlik Innibos en Vryfees,

te bepaal. Daar is ook bepaal of ’n voorkeur vir ’n spesifieke tipe kuns moontlik persoonlike

kunsbetrokkenheid by die fees kan beïnvloed. Opnames is uitgevoer by Innibos in Mbombela,

Mpumalanga en Vryfees in Bloemfontein, Vrystaat. Afsonderlike ondersoekende faktoranalises

en twee-rigting frekwensie tabelle is uitgevoer om die bydraende faktore van die feeste te

bepaal. Gevolglik is onafhanklike t-toetse gebruik om enige statisties-betekenisvolle verskille te

ondersoek ten opsigte van die feesbesoekers se persoonlike kuns-betrokkenheid rakende hul

voorkeur tussen uitvoerende kunste of visuele kunste. Die resultate toon ’n paar matige verskille

tussen kuns-voorkeur en persoonlike kuns-betrokkenheid ten opsigte van die aankoop van

kunsprodukte en -aktiwiteite. Die resultate behoort in ag geneem te word wanneer kunstefeeste

beplan en bemark word om sodoende bydraes en persoonlike kuns-betrokkenheid te verbeter.

Die vierde doelwit is gemik om die kunsbydrae persepsie van drie Afrikaanse kunstefeeste,

naamlik KKNK, Innibos en die Vryfees, te bepaal. Verskille in die bydraes tot kunste tussen die

drie feeste is ondersoek en areas wat ’n tekort aan bydraes het, is geïdentifiseer. Vraelys-

opnames is uitgevoer, waarna ’n ondersoekende faktoranalise uitgevoer is om die persepsie ten

opsigte van die kuns bydrae by hierdie kunstefeeste te bepaal. ANOVAs is gedoen om enige

statisties-betekenisvolle verskille ten opsigte van die bydraes, soos in die literatuur

geïdentifiseer, van die drie feeste tot die uitvoerende kunste en visuele kunste, te bepaal. Die

resultate van hierdie studie toon aan dat die drie kunstefeeste in mate van hul bydrae verskil

rakende die tipe en vlak van bydrae tot die kunste wat hulle aanbied. Dus bevestig die resultate

dat besoekers aan Afrikaanse kunstefeeste in Suid-Afrika die siening het dat kunstefeeste wel

bydrae tot die kunste. Bemarkings-, program- en beplanningsimplikasies om effektief die

kunstebydrae by hierdie drie feeste te verbeter, is ook voorgestel.

x

Die finale doelwit, naamlik gevolgtrekkings en aanbevelings ten opsigte van die studie, het

getoon dat hierdie studie ’n groot bydrae tot die beplanning van kunstefeeste gemaak het,

aangesien dit daartoe kan lei dat kunstefeeste meer effektief en doeltreffend tot die kunste kan

bydrae.

Die aanbeveling word gemaak dat die werklike bydrae van kunstefeeste tot die kunste gemeet

moet word, en nie slegs die persepsie van besoekers ten opsigte van die bydrae wat hierdie

feeste moontlik kan hê nie. Dit is ook duidelik dat die persoonlike kuns-betrokkenheid van

besoekers aan kunstefeeste in ag geneem moet word wanneer die kunstefeeste se bydrae tot

die kunste geëvalueer word. Toekomstige navorsing oor hierdie onderwerp kan by ander

kunstefeeste uitgevoer word om sodoende vergelykende studies te kan doen. Hierdie navorsing

het ’n noemenswaardige bydrae tot navorsing oor kunstefeeste gemaak, aangesien dit enig in

sy soort is. Die ondersoek na kunstefeeste, gebaseer op die persepsie ten opsigte van hul

bydrae tot die kunste, blyk dus nuttig om hierdie feeste deeglik te evalueer en veral om hul

bydraes tot alle tipes kuns te verbeter. ’n Beter begrip van die bydraende faktore van die

kunstefeeste tot die kunste kan feesbestuurders help om strategieë te implementeer wat die

bestaan en voortdurende bydrae tot die kunste sal verseker.

xi

CHAPTER 1 INTRODUCTION, PROBLEM STATEMENT, OBJECTIVES

AND METHOD OF RESEARCH 1

1.1 PROPOSED TITLE 2

1.2 INTRODUCTION 2

1.3 BACKGROUND TO THE STUDY 4

1.4 PROBLEM STATEMENT 12

1.5 GOAL OF THE STUDY 12

1.5.1 Goal 12

1.5.2 Objectives 12

1.5.2.1 Objective 1 13





1.6 METHOD OF RESEARCH 14

1.6.1 Literature study 14

1.6.2 Empirical Survey 14

1.6.2.1 Research design and method of collecting data 14

1.6.3 Sampling 15

1.6.4 Development of questionnaire 16

1.6.5 Survey 17

1.6.6 Data analysis 17

1.7 DEFINING THE CONCEPTS 18

1.7.1 Arts 18

1.7.2 Performing arts 18

1.7.3 Visual arts 19

1.7.4 Perception 19

1.7.5 Arts festival 19

1.7.6 Klein Karoo National Arts Festival (KKNK) 20

1.7.7 Innibos Arts Festival 20

TABLE OF CONTENTS

xii

1.7.8 Vryfees Arts Festival 20

1.8 PRELIMINARY CHAPTER CLASSIFICATION 21

1.9 LIST OF REFERENCES 23

CHAPTER 2 LITERATURE REVIEW 33

2.1 INTRODUCTION 34

2.2 LITERATURE REVIEW 34

2.2.1 THE ARTS AND CULTURE RELATIONSHIP 34

2.2.2 THE ARTS CONTEXT 39

2.2.3 THE ARTS-RELATED TOURISM PRODUCT 43

2.2.3.1 Arts tourism 43

2.2.3.2 The arts festival 45

2.2.3.2.1 Arts participation and attendance at arts festivals 51

2.2.3.2.2 Experiencing the arts 54

2.2.3.2.3 Support for the arts 54

2.2.4 THE CONTRIBUTION OF ARTS FESTIVALS TO THE ARTS 55

2.2.4.1 Educational contribution 59

2.2.4.2 Emotional contribution 61

2.2.4.3 Economic contribution 62

2.2.4.4 Quality contribution 65

2.2.4.5 Marketing contribution 67

2.2.4.6 Growth and development contribution 69

2.2.4.7 Problems associated with the contribution of arts festivals

to the arts 72

2.2.4.7.1 Vulnerability 72

2.2.4.7.2 Trivialisation 73

2.2.4.7.3 Arts as an industry 73

2.2.4.7.4 Irrelevance 73

2.2.4.7.5 Containing artistic freedom 73

2.2.4.7.6 Combined approach 73

2.3 CONCLUSION 74


CHAPTER 3 IS IT STILL ABOUT THE ARTS? THE PERCEIVED

CONTRIBUTION OF KKNK TO THE ARTS (ARTICLE 1) 94

ABSTRACT 95

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3.1 INTRODUCTION 96



3.3.1 The questionnaire and survey 103

3.3.2 Statistical analysis 104

3.4 RESULTS 104

3.4.1 Profile of respondents surveyed at KKNK 104

3.4.2 Results from the factor analysis 106

3.4.3 Comparison of the festivals visitors’ perceptions of KKNK’s

contribution to the arts 110

3.4.3.1 Comparison by extent of arts exposure 110

3.4.3.2 Comparison by age 111

3.4.3.3 Comparison by geographic profile 112

3.4.3.4 Comparison by preferred arts 112

3.5 FINDINGS 113

3.6 IMPLICATIONS 116

3.7 CONCLUSION 117


CHAPTER 4 PUT YOUR MONEY WHERE YOUR MOUTH IS: THE PERCEIVED

CONTRIBUTION OF INNIBOS AND VRYFEES TO THE ARTS

(ARTICLE 2) 127

ABSTRACT 128

4.1 INTRODUCTION 129


4.2.1 The arts 131

4.2.2 Perception towards the arts 131

4.2.3 Contribution to the arts 133

4.2.4 Preference in the arts 134


4.3.1 Questionnaire 135

4.3.2 Survey and analysis 136


4.4 RESULTS 137

4.4.1 Profile of respondents surveyed at Innibos and Vryfees 137

4.4.2 Results from Innibos 140

4.4.2.1 Results from the factor analysis (Innibos) 140

xiv

4.4.2.2 Perceived contribution of Innibos’s contribution to the arts 144

4.4.2.3 Comparison of festival visitors’ perception of Innibos’s contribution

to the performing arts or the visual arts 145

4.4.3 Results from Vryfees 145

4.4.3.1 Results from the factor analysis (Vryfees) 145

4.4.3.2 Perceived contribution of Vryfees’s contribution to the arts 150

4.4.3.3 Comparison of festival visitors’ perception of Vryfees’s contribution

to the performing arts or the visual arts 150

4.5 FINDINGS 151


4.7 CONCLUSION 155


CHAPTER 5 ARTS FESTIVALS OR SOCIAL BAZARS? THE PERCEIVED

CONTRIBUTION OF SOUTH AFRICAN ARTS FESTIVALS

TO THE ARTS (ARTICLE 3) 163

ABSTRACT 164


5.2 BACKGROUND 165

5.3 PROBLEM STATEMENT 167



5.5.1 The questionnaire 174

5.5.2 Sampling and survey 175


5.6 RESULTS 176

5.6.1 Profile of respondents at KKNK, Innibos and Vryfees 176

5.6.2 Results from the factor analysis 179

5.6.3 ANOVAs on perceived contribution to the arts 183

5.6.3.1 ANOVA: Educational contribution 184

5.6.3.2 ANOVA: Emotional contribution 185

5.6.3.3 ANOVA: Economic contribution 186

5.6.3.4 ANOVA: Quality contribution 187

5.6.3.5 ANOVA: Marketing contribution 189

5.6.3.6 ANOVA: Growth and development contribution 190

5.6.4 Personal involvement in the arts 191

5.6.5 Total contribution to the arts 192

xv

5.6.5.1 Perceived contribution to the performing arts 192

5.6.5.2 Perceived contribution to the visual arts 193

5.6.5.3 Total perceived contribution to the arts 194

5.7 FINDINGS 195


5.9 CONCLUSION 200


CHAPTER 6 CONCLUSIONS AND RECOMMENDATIONS 208


6.2 CONCLUSIONS 210

6.2.1 Conclusions regarding the literature study 211

6.2.2 Conclusions regarding the perceptions that the festival visitors

to the KKNK have, in terms of the festival’s contribution to the arts 214

6.2.3 Conclusions regarding the difference in perception in terms of

contribution based on socio-demographic characteristics of the

visitors to KKNK festival visitors’ involvement in the arts at both

Innibos and Vryfees 214

6.2.4 Conclusions regarding the perceived contribution of Innibos and

Vryfees to the arts 215

6.2.5 Conclusions regarding the possible differences of the festival

visitors’ involvement in the arts at both Innibos and Vryfees

in relation to their perception 215

6.2.6 Conclusions regarding the perceived contribution of arts festivals

in South Africa to the arts through three arts festivals, namely

KKNK, Innibos and Vryfees 216

6.2.7 Conclusions regarding the difference in contribution to the arts

by KKNK, Innibos and Vryfees 216

6.3 CONTRIBUTION OF THE RESEARCH 217

6.4 LIMITATIONS OF THE STUDY 218

6.5 RECOMMENDATIONS TO ARTS FESTIVALS 219

6.6 RECOMMENDATIONS FOR FUTURE RESEARCH 222


xvi

CHAPTER 1 INTRODUCTION, PROBLEM STATEMENT, OBJECTIVES

AND METHOD OF RESEARCH 1

Table 1.1 Previous research done on some of the arts festivals in

South Africa 5

Table 1.2 The goals and mission statements of KKNK, Innibos and

Vryfees arts festivals in South Africa 8

Table 1.3 Previous research done on the contribution of international

arts festivals to the arts 11


Table 2.1 Definitions relating to culture 36

Table 2.2 Definitions relating to the arts 39

Table 2.3 Definitions relating to the arts and tourism 44

Table 2.4 Events and festivals defined 46

Table 2.5 Definitions relating to arts festivals 48

Table 2.6 Arts present at South African arts festivals 50

Table 2.7 Attendance at and participation in the arts 53

Table 2.8 General contributions of the arts festival to the arts 56

Table 2.9 Definitions of interpretation of education 60

Table 2.10 Questions relating to the educational contribution 61

Table 2.11 Definitions of interpretation of emotion 61

Table 2.12 Questions relating to the emotional contribution 62

Table 2.13 Definitions of interpretation of economics 63

Table 2.14 Questions relating to the economical contribution 65

Table 2.15 Definitions of interpretation of quality 65

Table 2.16 Questions relating to the quality contribution 67

Table 2.17 Definitions of interpretation of marketing 67

Table 2.18 Questions relating to the marketing contribution 68

Table 2.19 Definitions of interpretation of growth and development 69

LIST OF TABLES

xvii

Table 2.20 Questions relating to the growth and development contribution 71

Table 2.21 Summary of the contributions of an arts festival to the arts,

as used in the questionnaire 76



Table 3.1 Profile of visitors to KKNK 105

Table 3.2 Factor analysis (KKNK’s contribution to the arts) 107

Table 3.3 ANOVA for comparison of identified factors by the level of arts

Exposure 111

Table 3.4 ANOVA for comparison of identified factors by the different

age groups of respondents 111

Table 3.5 T-test for comparison by geographic profile of identified factors

for performing arts and visual arts 112

Table 3.6 T-test for comparison by preferred arts of identified factors for

performing arts and visual arts 113

CHAPTER 4 PUT YOUR MONEY WHERE YOUR MOUTH IS: THE

PERCEIVED CONTRIBUTION OF INNIBOS AND VRYFEES


Table 4.1 Profile of visitors to Innibos and Vryfees 138

Table 4.2 Factor analysis (Innibos) 140

Table 4.3 Perception of Innibos’s contribution to the arts 144

Table 4.4 T-test between preferences for performing or visual arts based

on personal involvement (Innibos) 145

Table 4.5 Factor analysis (Vryfees) 146

Table 4.6 Perception of Vryfees’s contribution to the arts 150

Table 4.7 T-test between preferences for performing or visual arts based

on personal involvement (Vryfees) 151




Table 5.1 Contributions of an arts festival 171

Table 5.2 Profile of visitors to KKNK, Innibos and Vryfees 178

xviii

Table 5.3 Factor analysis of KKNK, Innibos and Vryfees (combined data set) 180

Table 5.4 Educational contribution 184

Table 5.5 Emotional contribution 185

Table 5.6 Economic contribution 186

Table 5.7 Quality contribution 187

Table 5.8 Marketing contribution 189

Table 5.9 Growth and development contribution 190

Table 5.10 Personal involvement in the arts 192

xix


Figure 2.1 The arts 42

Figure 2.2 The relationship between the arts and tourism 44

Figure 2.3 Tourism: its effect on the arts 58

Figure 2.4 Authors own compilation of the arts festival’s contribution to the arts 59

Figure 2.5 Some disadvantages of the influence of tourism on the arts 72



Figure 3.1 Author’s own compilation of the contribution of the arts festivals’

contribution to the arts 99




Figure 5.1 The arts 169

Figure 5.2 Contribution to performing arts 193

Figure 5.3 Contribution to visual arts 194

Figure 5.4 Total contribution to the arts 194

LIST OF FIGURES

xx




Map 5.1 Geographic locations of KKNK, Innibos and Vryfees in South Africa 168

LIST OF MAPS

xxi

APPENDICES 228

APPENDIX A: Questionnaire 229

APPENDIX B: Language editing certificates 232

APPENDICES

1

INTRODUCTION, PROBLEM STATEMENT, OBJECTIVES AND METHOD OF RESEARCH

“Don’t think about making art, just get it done.

Let everyone else decide if it’s good or bad, whether they love it or hate it.

While they are deciding, make even more art.”

Andy Warhol

CHAPTER 1

2

1.1 PROPOSED TITLE

Visitors‟ perceived contribution of South African arts festivals to the Arts.

1.2 INTRODUCTION

The arts and culture sector in South Africa has been recognised as the root of innovation; where

something new or different is produced and introduced, ultimately contributing to the

imagination and creativity of the individual (Tassiopoulos, 2005:26). According to McIntosh,

Goeldner & Ritchie (1995:156), Getz (1997:22), Jackson & O‟ Sullivan (2002:326), Lee, Lee &

Wicks (2004:61), Tassiopoulos (2005:4), Shin (2008:139), Van Niekerk & Coetzee (2011:349)

and Kruger & Saayman (2012:148) the number, diversity and popularity of events have grown

enormously over the past several decades. Events and festivals, such as arts festivals, are a

component of the arts and culture sector. This clarification supports the fact that arts festivals

are regarded as artistic cultural events, promoting on-going culture, and thus the arts, of the

communities, those hosting them and those attending them (Ivanovic, 2008:84; Quinn, 2006).

Each festival has a reason for its existence, with its own unique feel, programme and audience.

Each must fulfil their goals and must contribute to their purpose (Quinn, 2006:300). The purpose

of arts festivals in general is to contribute in the enhancement and livelihood of all forms of arts

it presents (Quinn, 2005; Visser, 2005; Hutter & Throsby, 2008:17; Ivanovic, 2008:84; Kruger &

Petzer, 2008:113). Bowdin, Allen, Harris, McDonnell and O‟Toole (2012:23), Hughes (2012:91),

Quinn (2006:291) and Inkei (2005:6) further contribute to the definitions of the purposes of arts

festivals by adding that arts festivals are recognised as catalysts for arts development.

South Africa hosts a wide variety of arts festivals, where more than 400 events and festivals are

held each year (Kruger, Saayman & Ellis, 2010a). The Klein Karoo National Arts Festival (for

the purpose of this study, the term KKNK will be used when references are made to the festival)

in Oudtshoorn, Western Cape, Innibos Lowveld National Arts Festival (Innibos) in Mbombela,

Mpumalanga and Vryfees Arts Festival (formally known as the Volksblad Arts Festival) in

Bloemfontein, Free State, are just three of the many well-established arts festivals that the

country offers. One of South Africa‟s largest arts festivals, in terms of economic impact (Kruger,

2009:2), is KKNK. The arts festival is held annually during the March/April school holidays in

Oudtshoorn, in the Western Cape Province. KKNK has evolved from a small, Afrikaans,

language-specific festival into a major event on the national arts calendar (Kruger, 2009:2). The

festival offers a variety of art forms as well as flea markets that range from food stalls, arts and

crafts (Kitshoff, 2004:238; KKNK, 2011) and includes both the performing arts and the visual

arts (Edginton, Hudson, Dieser & Edginton, 2004:214; KKNK, 2011). KKNK has produced over

3

70% of all new Afrikaans theatre in the country since 1995, were it presents over 200

productions, working with over 750 artists in 40 different venues attracting more than 100 000

festival visitors each year (KKNK, 2012b). This makes KKNK “one of the most popular arts

festivals in the country” (Kruger, Saayman & Ellis, 2010b:80; KKNK, 2012b).

Innibos, the Lowveld National Arts Festival annually held in Mbombela, Mpumalanga, was

founded in 2004, and has grown over the years to an attendance of more than 90 000

(InnibosKunstefees, 2012; Jacobs, 2012). Innibos stimulates the local economy and can be

seen as a marketing platform for the Lowveld as tourist destination. In essence, Innibos is a

cultural festival with a distinctly Afrikaans character and cultural diversity, offering music, dance

and theatre and has a strong visual arts component (Jacobs, 2012). The mission of Innibos is to

promote the arts, tourism and the economic growth of the Lowveld (Jacobs, 2012).

Vryfees was hosted for the first time in 2001, in conjunction with the University of the Free State

in Bloemfontein, which formed part of the Media 24 arts festival initiative (Volksbladfees, 2012).

Vryfees is also one of the larger arts festivals in the country when measured in terms of ticket

sales. In 2001, 6 000 tickets were sold; however when compared to 2010 records, 40 000

tickets were sold, showing a significant growth in ticket sales with more than 30 000 festival

visitors annually (Vryfees, 2012). Vryfees makes good use of the excellent theatre venues the

University of the Free State has to offer. The festival can be referred to as “the festival where

the luxury of the theatre can be enjoyed” and highlights an average of 225 productions, working

with over 400 artists per year (Volksbladfees, 2012; Vryfees, 2012).

KKNK, Innibos and Vryfees provide each year quality arts productions, shows and exhibitions,

bringing the arts to the community and visitors in a relaxing, inspirational and educational

environment (Smith, 2009:39; KKNK, 2012a). At these festivals, the visitors not only enjoy the

festivities, but also the social celebrations and the arts on offer, as an arts festival involves the

celebration of a theme or event, of human creative skill in areas such as poetry, painting and

music, and may involve the celebration of an individual artist (Williams & Bowdin, 2007:306).

However, while some visitors may attend the occasional festival show or production, there are

thousands of visitors who go to the festival for the socialisation, opting for the stalls, restaurants

and pubs over the arts (Hauptfleisch, 2001:175; Cruywagen, 2002:190; Kitshoff, 2004;

Hauptfleisch, 2004; Van der Vyver & Du Plooy-Cilliers, 2006:202; Slabbert, Viviers, Oberholzer,

Saayman & Saayman, 2011:11; Pretorius, 2012). This makes it clear that not all visitors visit

arts festivals for artistic fulfilment. The question arise whether the arts is still an important aspect

at arts festivals. Therefore, it is possible that arts festivals such as KKNK, Innibos and Vryfees

could need to re-determine their purpose to ascertain if they still contribute to the growth,

development and enhancement of the arts in all forms.

4

The purpose of this proposal is to discuss the research process to be followed in this study.

Firstly, this will be realised by giving a broad background of the current study. Secondly, the

problem statement will be analysed. Thirdly, the goals and objectives of the study will be

identified. Fourthly, the research methodology will be discussed. Fifly, the key concepts will be

defined and lastly, the chapter classification will be outlined.

1.3 BACKGROUND TO THE STUDY

The South African Department of Arts, Culture and Heritage defined the arts in the White Paper

(1996:6) as “all forms of traditional dance, drama, music, music theatre, visual arts, crafts,

design, written and oral literature, all of which serve as means for individual and collective

creativity and expression through performance, execution, presentation, exhibition, transmission

and study”. For the purpose of this study, the term art will be restricted to those art forms

available at KKNK, Innibos and Vryfees arts festivals. These art forms include live theatre,

music, dance productions, literature, photography, fine arts exhibitions and craft markets

(Snowball, 2010:193, KKNK, 2011; KKNK, 2012b; Vryfees, 2012).

The acknowledgement of the uniqueness of arts festivals is clearer within the divisions of the

arts as these festivals were developed to display different art forms (Quinn, 2005). Broadly, the

performing arts (in which the participant is the mode of artistic expression) include music, dance

and drama. The visual arts (also called fine arts) include painting, sculpture, engraving, printing

and crafts. In the visual arts, it is the product of the artistic expression that is important

(Edginton et al., 2004:214). Writing and literature, as art form, can be classified either under the

performing arts or under the visual arts. The term „literature‟ will be placed under the visual arts

division in this study and this classification is supported by Chaffee (1984:312) and Landwehr

(2002:11) who state that the principal meaning of the term literature is a „description‟ and, in

particular, a verbal depiction of either an actual or make-believe work of art. They furthermore

indicate that some ideas are better expressed by literature than by painting, for example, and

that words can create visual art (Chaffee, 1984:312; Landwehr, 2002:11). Visual arts and

performing arts are often referred to as „the arts‟. „The arts‟ then, as an umbrella term, covers

both the performing arts and the visual arts (Hughes, 2012:5).

An arts festival can be defined as an event involving the celebration of a theme, of human

creative skill in areas such as poetry, painting and music (i.e. the arts), and of an individual

artist, where its primary focus is on the development, presentation and/or participation in the

arts (Tassiopoulos, 2010:15; Williams & Bowdin, 2007:306; Inkei, 2005:6). As the main focus of

this study is on arts festivals, Table 1.1 provides an overview of some of the large and popular

arts festivals in South Africa and previous studies done by researchers on them. These studies

5

focused on the arts, on the economics and social profile and impacts of the arts festivals,

effective marketing strategies and travel motivation as well as the cultural domains at these

festivals. The reason for identifying these arts festivals and the research done at them is to

provide the researcher insight to the arts festival context in South Africa to effectively explore

and identify areas that lack in research at South African arts festivals.

Table 1.1: Previous research done on some of the arts festivals in South Africa

NATIONAL ARTS

FESTIVALS

STUDY TOPIC REFERENCES

Klein Karoo

National Arts

Festival (KKNK)

Culture Kitshoff, H. 2004. Claiming cultural festivals: playing for power at the

Klein Karoo Nasionale Kunstefees (KKNK). South African Theatre

Journal, 18:65-81.

Culture Hauptfleisch, T. 2001. The eventification of Afrikaans culture – some

thoughts on the Klein Karoo National Kunstefees (KKNK). South African

Theatre Journal, 15:169-177.

Economic Snowball, JD. 2005. Art for the Masses? Justification for the Public

Support of the Arts in Developing Countries – Two Arts Festivals in South

Africa. Journal of Cultural Economics, 29: 107–125

Social Van Der Vyver, A.G. & Du Plooy-Cilliers, F. 2006. The social dynamics of

arts festivals: a comparative analysis of the KKNK and the Grahamstown

National Arts Festival. South African Theatre Journal, 20(1): 192-203.

Culture Hauptfleisch, T. 2003. The Cultural Bazaar: thoughts on festival culture

after a visit to the 2003 Klein Karoo Nasionale Kunstefees (KKNK) in

Oudtshoorn. South African Theatre Journal, 17(1): 258-275.

Social Kruger, M. Saayman, M & Saayman, A. 2009. Socio-demographic and

behavioural determinants of visitors at the Klein Karoo National Arts

Festival. Event management, 13(1):53-68.

Social Saayman, M., Kruger, M. & Erasmus, J. 2012. Lessons in managing the

visitor experience at the Klein Karoo National Arts Festival. Journal of

applied business research, 28(1):81-92.

Social Saayman, M., Kruger, M. & Erasmus, J. 2012. Finding the key to

success: a visitors‟ perspective at a national arts festival. Acta

Commercii, 12(1):150-172.

Grahamstown

National Arts

Festival

Economics Saayman, M. & Rossouw, R. 2011. The significance of festivals to

regional economies: measuring the economic value of the Grahamstown

National Arts Festival in South Africa. Tourism Economics, 17(3): 603–

624.

Economic Snowball, JD. & Willis, KG. 2006. Estimating the marginal utility of

different sections of an Arts Festival: the case of visitors to the South

African National Arts Festival. Leisure Studies, 25(1):43-56.

Economic Silva, J. 1998. The change, development and impact of the Grahamstown

Arts Festival, with special reference to music. Grahamstown: Rhodes

6

University (Unpublished Dissertation – M.A).

Social Saayman, M. & Saayman, A. 2007. Socio-demographic and behavioural

determinants of visitor spending at a National Arts Festival: a panel data

analysis. World Journal on Events. (Waiting to be published)

Social Van Der Vyver, AG. & Du Plooy-Cilliers, F. 2006. The social dynamics of

arts festivals: a comparative analysis of the KKNK and the Grahamstown

National Arts Festival. South African Theatre Journal, 20(1): 192-203.

Economic Snowball, JD. 2005. Art for the Masses? Justification for the Public

Support of the Arts in Developing Countries – Two Arts Festivals in South

Africa. Journal of Cultural Economics, 29: 107–125

Culture Snowball, JD. & Webb, ACM. 2008. Breaking into the conversation:

cultural value and the role of the South African National Arts Festival from

apartheid to democracy. International Journal of Cultural Policy,

14(2):149-164

Culture Pretorius, L. & Pretorius, M. 2006. There and back again: National Arts

Festival, Grahamstown 2006. South African Theatre Journal, 20(1): 263-

269

Marketing Willis, KG. & Snowball, JD. 2009. Investigating how the attributes of live

theatre productions influence consumption choices using conjoint

analysis: the example of the National Arts Festival, South Africa. Cult

Econ, 33:167–183.

Aardklop

National Arts

Festival

Social Van Zyl, C. 2002. The participation of the host community in the Aardklop

National Arts Festival. University of Pretoria (Dissertation – Mcom).

Marketing Van Zyl C & Botha C. 2003. Motivational factors of local residents to

attend the Aardklop National Arts Festival. Event Management, 8(4):

213–222.

Economic Van Heerden A. 2003. Economic impact of the Aardklop National Arts

Festival. Potchefstroom: Potchefstroom University for CHE (Dissertation -

MCom).

Marketing Saayman, M. & Saayman, A. 2006a. Marketing analysis of Aardklop

National Arts Festival. Potchefstroom: Institute for Tourism and Leisure

Studies.

Marketing Kruger, M., Saayman, M. & Ellis, S. 2011. Segmentation by genres: the

case of the Aardklop National Arts Festival. International Journal of

Tourism Research, 13: 511–526

Economic Kruger, M., Saayman, M. & Ellis, S. 2010c. Determinants of visitor

expenditure at the Aardklop National Arts Festival. Event management,

14(2):137-148.

Vryfees Arts

Festival

Economic Strydom, A.J., Saayman, M. & Saayman, A. 2007. The Economic impact

of the Volksblad Arts Festival. Acta Commercii, 6:87-98.

Economic Saayman, M., Slabbert, E. & Saayman, A. 2005. Profile and economic

impact of Volksblad arts festival. (Report on Profile and economic impact

of Volksblad arts festival: 2005). Potchefstroom (Unpublished).

Marketing Pissoort, V. & Saayman, M. 2007. Market Segmentation of Visitors at

three selected arts festivals in South Africa. Acta Commercii, 7: 225-268

7

Culture Joseph, CO. 2004. Volksblad-Kunstefees (Bloemfontein) 2004: an

outsider's view. South African Theatre Journal, 18(1): 242-245

Marketing Kruger, M., Saayman, M. & Strydom, A. 2010. First-time versus repeat

visitors: the Volksblad Arts Festival. Acta Academica, 42(4): 91-121

Innibos Lowveld

National Arts

Festival

Marketing Kruger, M. & Saayman, M. 2012. When do festino‟s decide to attend an

arts festival? An analysis of the Innibos National Arts Festival. Journal of

Travel & Tourism Marketing, 29(2): 147-162

Economic Van Niekerk, M. & Saayman, M. & Saayman, A. 2005. Profile and

economic impact of Innibos Arts festival. Potchefstroom: Institute for

Tourism and Leisure Studies.

Economic Van Niekerk, M. & Saayman, M. 2004. Profile and economic impact of

Innibos – Lowveld National Arts Festival. Tshwane University of

Technology, Mpumalanga Campus and Potchefstroom Institute for

tourism and leisure studies, Potchefstroom University.


three selected arts festivals in South Africa. Acta Commercii, 7: 225-268

Oppikoppi

Festival


three selected arts festivals in South Africa. Acta Commercii, 7: 225-268.

Marketing Kruger, M. & Saayman, M. 2009. Travel motives of visitors attending

Oppikoppi Music Festival. Acta Academica, 41(4): 56-73

Culture Truscott, R. 2011. National melancholia and Afrikaner self-parody in post-

apartheid South Africa. Psychoanalysis, Culture & Society, 16(1): 90–

106.

Culture Haupt, A. 2006. Race, Audience, Multitude: Afrikaans Arts Festivals and

the politics of inclusion, Muziki. Journal of Music Research in Africa, 3(1):

16-27.

Source: Author’s own compilation

As illustrated in Table 1.1, there where only a limited amount of studies done on South African

arts festivals. These studies specifically focused on different research fields, such as marketing

and economic profiling, for South African arts festivals, where no specific studies focused on the

arts festival‟s contribution to the arts. To determine the contribution of arts festivals is important,

as the South African arts festivals was established to celebrate and ensure the life keeping of

culture; the arts and its forms (KKNK, 2012b; Vryfees, 2012; InnibosKunstefees, 2012; Van

Niekerk & Coetzee, 2011:349).

With the afore-mentioned in mind and in support of the title of the study, Table 1.2 shows the

mission and goal statements of KKNK, Innibos and Vryfees in South Africa. The question arises

whether arts festivals are successful in their purposes to contribute to the arts or are these

events degenerating into social gatherings for entertainment and celebration with family and

friends (Hauptfleisch, 2001:175; Cruywagen, 2002:190; Hauptfleisch, 2003; Hauptfleisch, 2004;

Van der Vyver & Du Plooy-Cilliers, 2006:202; Pretorius, 2012).

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Table 1.2: The goals and mission statements of KKNK, Innibos and Vryfees arts festivals in South Africa

ARTS FESTIVAL DESCRIPTION MISSION AND GOAL STATEMENTS REFERENCES

Klein Karoo National

Arts Festival (KKNK)

Oudtshoorn,

Western Cape

“The KKNK presents over

200 productions, works

with over 750 artists in 40

different venues attracting

more than 100 000 visitors

each year”

To promote excellence in art;

developmental orientation

towards the artists, festival

attendees and the entrepreneurs;

accountability for fairness of

opportunity; and

to promote access to arts.

(KKNK, 2012b;

Kruger,

Saayman &

Ellis, 2010b:80)

Innibos Lowveld

National Arts Festival

(Innibos)

Mbombela

(Nelspruit),

Mpumalanga

“Innibos is a vibrant cultural

event of national

importance, which

showcases music, theatre

and dance as well as the

visual arts. The festival

attracts more than 90 000

visitors to the event

annually”

Promote the arts and the

enjoyment thereof on a wide front;

to market the Lowveld as an

outstanding tourist destination;

to stimulate the local economy;

and

to promote the arts, tourism and

the economic growth of the

Lowveld

(InnibosKunste-

fees, 2012;

Jacobs, 2012)

Vryfees Arts Festival

(Vryfees)

Bloemfontein, Free

State

“Formerly known as the

Volksblad Arts Festival.

This festival presents a

large number of live shows,

stage productions and an

art market, attracting over

30 000 visitors”

To develop local talent and to

create the opportunity for artists

to perform together at productions

that the festival has to offer;

to create work in all disciplines in

the art industry;

to promote the love for reading

and literature; and

to promote the interest of the

community to the arts.

(Vryfees, 2012;

Pissoort &

Saayman,

2007:258)


Table 1.2 clearly supports the statement that arts festivals are hosted to showcase different art

forms (Quinn, 2005) and to contribute to the arts (Quinn, 2005; Visser, 2005; Hutter & Throsby,

2008:17; Ivanovic, 2008:84; Kruger & Petzer, 2008:113). Through identifying the mission and

goal statements of the three arts festivals, it becomes easier to determine whether arts festivals

still effectively reach their goals as arts contributors and to determine their part in keeping the

arts alive. Arts festivals can indeed contribute to the arts if they pursue their desired goal and

stated need to contribute to the growth and development of all art forms equally and, ultimately,

to contribute to the livelihood of the arts.

Holden (2004) uses the term cultural contribution to encompass the full range of contributions

yielded by cultural goods and services such as arts festivals. The term „contribution‟ is suitable

9

when defining the different factors the arts festival holds for arts contribution. The term

„contribution‟ can be defined as the supporting factor that an object or person holds for the

other; or for the part or share in production (Farlex, 2012; The Reader‟s Digest great

encyclopaedic dictionary, 1971:199). It can then be seen as a voluntary gift (as of money,

service or ideas) made to some worthwhile cause (Farlex, 2012). This can be put in an arts

festival context; where the arts festival has supporting factors for the arts.

In the case of the present study, KKNK, Innibos and Vryfees take on the role of a contributor

(one that contributes or helps) in the development and enhancement of the arts (Visser,

2005:161; Kruger, 2009:13). Heilbrun & Gray (2001), Jackson & O‟Sullivan (2002:327), Nieman

(2003), Holden (2004), Visser (2005:160-162) and Dunjic (2011) each identify contributions of

arts festivals to the arts that are placed under the term „cultural contribution‟. These would

include educational contribution (for example, the enhancement of arts knowledge or to improve

skills in the arts) (Korza & Magie, 1989:3; Heilbrun & Gray, 2001:229; Faulkner, Moscardo &

Laws, 2001:138; Prentice & Andersen, 2003:25; Quinn, 2006:302; Anheier & Isar, 2008:8;

Winner & Hetland, 2008; Allen, O‟Toole, Harris & McDonnell, 2012:50; Finkel, 2009:13; Dunjic,

2011:20; Page & Connell, 2012:352), emotional contribution (for example, where the festival

inspires people to perhaps become an artist or to just visit more theatre productions or dance

shows) (Waterman, 1989:55; Heilbrun & Gray, 2001:228; Axelsen, 2006; Quinn, 2006:302;

Schwarz & Tait, 2007; Finkel, 2009:13; Hughes, 2012:13), economic contribution (for example,

work opportunities for the community and income generation for local enterprises) (Korza &

Magie, 1989:3; Mitchell & Wall, 1989:39; Rolfe, 1992; Heilbrun & Gray, 2001:227; Saayman &

Saayman, 2004; Kitshoff, 2004:238; Saayman & Saayman, 2006b; Quinn, 2006:301; Allen et

al., 2012:61; Snowball, 2010; Anheier & Isar, 2008:3; Finkel, 2009:12; Goeldner & Ritchie,

2009:81; Jonker, Saayman & De Klerk, 2009:383) or quality contribution (for example,

ensouring high standard quality productions at the festival through a particular set of rules and

diciplines) (Korza & Magie, 1989:12,36; Reeves, 2002:37; Quinn, 2006:291,300; Allen, O‟Toole,

Harris McDonnell, 2008:180; Finkel, 2009:20; Liburd & Derkzen, 2009:137).

Arts festivals have a marketing contribution to the arts (for example, where the local community

and visitors are made more aware of the festival and are being exposed to the different arts

forms) (Korza & Magie, 1989:3; Bonus & Ronte, 1997:112; Nieman, 2003; Kitshoff, 2004:238;

Richardt & Wilson, 2004; Visser, 2005:162; Van Der Vyver & Du Plooy-Cilliers, 2006:192;

Quinn, 2006:294; Anheier & Isar, 2008:264; Hutter & Throsby, 2008; Page & Connell, 2009:393;

Jonker et al., 2009:383; Koopman, 2012; Hughes, 2012:154) and also a growth and

development contribution (for example, the introduction of new artists or the development of

different production themes) (Korza & Magie, 1989:3; Waterman, 1998:55; Heilbrun & Gray,

2001:228; Faulkner et al., 2001:138; Kitshoff, 2004:240; Visser, 2005:160; Quinn, 2006:302;

10

Anheier & Isar, 2008:263; Saayman & Rossouw, 2011:611; Koopman, 2012; Hughes,

2012:153).

The contributions can be described as the “missing link” when judging the arts festival‟s full

contribution to the arts and its forms (Holden, 2004). KKNK, Innibos and Vryfees will be

evaluated in terms of these contributions to determine if the arts festivals can still be identified

as contributors to the arts; their contribution to all forms of the arts and the extent thereof.

Previous research in this field will be used as a guideline to aid in the determination of those

factors at the arts festivals that contribute to the arts. Table 1.1 illustrates arts festivals in South

Africa and their impact or role as festivals in general. International research to date on the

contribution of the arts festival to the arts themselves is very broad based, only focusing on one

element of contribution, such as the economic contribution. However, even though these

studies are mainly focused on the economic contribution of arts festivals, their findings are

useful in providing a background to the current project. These studies are listed in Table 1.3.

Table 1.3: Previous research done on the contribution of international arts festivals to the arts

INTERNATIONAL STUDY KEY WORDS REFERENCES

Festival evaluation: An exploration of seven UK arts festivals Evaluation as

contributing to the arts

(Williams & Bowdin,

2007:314)

Festival tourism: A contribution to sustainable local economic

development

Festival contribution to

economic development

(Jackson & O‟Sullivan,

2002)

Growing with the arts Arts at arts festivals

contributing to the artist

(Bernstein, 2006:25)

A new perspective on the decision making process of arts

festival visitors

Motivation as


(Gitelson & Kerstetter,

2000)

Festival management studies: Developing a framework and

priorities for comparative and cross-cultural research

Culture as contributing

to the arts

(Getz, Andersson &

Carlsen, 2010)

Problematising „festival tourism‟: Arts festivals and

sustainable development in Ireland

Sustainable

development as


(Quinn, 2006:291)

The cultural economy: the cultures and globalisation1; The

economics of art and culture2; Problematising “festival

tourism”3; Recreation, arts, events and festivals

4

Emotional and social

contribution of an arts

festival to the arts

(Phillips & Steiner,

19991; Heilbrun &

Gray2, 2001:228;

Quinn, 2006:3023;

Schwarz & Tait, 20074)

The cultural economy: the cultures and globalisation1; Let‟s

be festive3;

; The social dynamics of arts festivals4; Beyond

price: value in culture, economics and the arts5; The cultural

economy: the cultures and globalization6

Marketing, promotional

and exposure




19991; Nieman, 2003

2;

Visser, 2005:1623;

Hutter & Throsby,

11

20085; Anheier & Isar,

2008:36)



tourism”3; Let‟s be festive

4

Growth and

developmental




19991; Heilbrun & Gray,

20012; Quinn, 2006

3;

Visser, 2005:1604)

The cultural economy: the cultures and globalisation1;

Problematising “festival tourism”2

Quality contribution of

an arts festival to the

arts


19991; Quinn,

2006:3002)



tourism”3; The cultural economy: the cultures and

globalization4

Economic contribution

of an arts festival to the

arts



2001:2272; Quinn,

2006:3013; Anheier &

Isar, 2008:34)



tourism”3; The cultural economy: the cultures and

globalization4; Art for arts classes matter more than ever –

but not for the reasons you think5; A picture of the

contemporary combined arts festival landscape6

Educational

contribution of the arts




2001:2292; Quinn,

2006:3023; Anheier &

Isar, 2008:84; Winner &

Hetland, 20085; Finkel,

2009:136)


Table 1.3 offers an outline of different contribution studies regarding arts festivals to the arts.

These identified contributions in previous studies aid as guideline for the arts festivals to

maintain their purpose to the arts in contributing to them.

Based on what art is, and what the roles of arts festivals are, this study will focus on the

contribution of festivals to the arts in general and whether they still contribute in each factor (for

example, in development or by marketing) to the arts; while specifically addressing the question

of whether or not arts festivals have turned predominantly into social gatherings, rather than

focussing mainly on their roles in contributing to the livelihood of the arts. The background in

this proposal provided an overview of the literature review.

The next section will describe the problem at hand as well as the process of data collection and

capturing that will be followed.

12

1.4 PROBLEM STATEMENT

The research gap in the arts evaluation of arts festivals, concerning their contribution to the arts,

has been given inadequate attention locally and internationally (Getz, et al., 2010:34). In some

global cases it might be seen that festival organisers disregard the value of arts festivals, in

terms of their support to the arts, and simply perceive them as vehicles of economic generation

or as „quick fix‟ solutions to image problems (Quinn, 2005:927; Getz, 2009). This notion

somewhat overshadows the contributions that arts festivals make to the arts (Hutter & Throsby,

2008:xv). Through determining the contribution of an arts festival to the arts it presents, the arts

festival will effectively pursue in its purpose and direction – something that now seems to have

been lost (Quinn, 2005:999). This is also evident in studies done locally. In 2011, research

based on perception has shown that 46% of festival respondents at KKNK totally agreed with

the statement that arts would become less important in society if it was not for the arts festival

(Slabbert, Viviers, Oberholzer, Saayman & Saayman, 2011:26). This study will seek to fill the

gap in knowledge of the contributions by the arts festivals to the arts from the perception of the

festival visitors. It will seek to identify and expose aspects that contribute to the enhancement

and development of the arts in the South African context. Ultimately, the study will determine

whether an arts festival does indeed contribute to all forms of the arts. Further, from the

perception of the festival visitors, the research will determine the meaning of an arts festival to

them and whether the festivals live up to their mission statements, or perhaps determine if arts

festivals have developed into a mere „party‟ or „bazaar‟, as a festival for socialising with friends

and family (Hauptfleisch, 2001:175; Cruywagen, 2002:190; Hauptfleisch, 2003; Hauptfleisch,

2004:294; Van der Vyver & Du Plooy-Cilliers, 2006:202; Slabbert et al., 2011; Pretorius, 2012).

In other words, the problem statement can be formulated as a research question, namely,

“What is visitors’ perceived contribution of South African arts festivals to the Arts?”

1.5 GOAL OF THE STUDY

1.5.1 Goal

To determine the perceived contribution of South African arts festivals to the arts.

1.5.2 Objectives

Based on the goal of the study, the following research objectives have been developed:

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1.5.2.1 Objective 1

To identify by means of a literature study the following:

o The relationship between the arts and culture

o The arts context

o The arts related tourism product with focus on arts festivals

o The perceived contributions of arts festivals to the arts

1.5.2.2 Objective 2

To determine the perceptions that the visitors to KKNK have, regarding the festival‟s

contributions to the arts.

To analyse whether perceived contribution to the arts differ regarding the socio-

demographic characteristics of the visitors to the KKNK.

1.5.2.3 Objective 3

To determine the perceived contribution of Innibos and Vryfees to the arts.

To analyse possible differences regarding festival visitors‟ involvement in the arts at both

Innibos and Vryfees in relation to their arts preference.

1.5.2.4 Objective 4

To determine the perceived contribution of arts festivals in South Africa to the arts

through three arts festivals, namely KKNK, Innibos and Vryfees.

To analyse whether KKNK, Innibos and Vryfees differ in terms of their contribution to the

arts.

1.5.2.5 Objective 5

To draw conclusions based on the research and make recommendations regarding arts

contribution and involvement at Afrikaans arts festivals in South Africa.

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1.6 METHOD OF RESEARCH

1.6.1 Literature Study

The literature review (or study) aid in gaining an understanding of the problem at hand and in

the preparation of the research instrument. Searches for information were conducted through

library catalogues, indexes and the use of the internet. Theoretical analyses of the term arts and

of its divisions were examined using theses, journal articles, books and other tourism-related

literature. Scientific databases such as EBSCOhost, Google Scholar, Journal A-Z, WorldCat

and ScienceDirect were used to obtain further relevant publications and information on tourism,

arts festivals, contribution to the arts and material concerning market perception theories.

Specific keywords were used to obtain this information, namely, arts contribution, arts festival,

Innibos, KKNK, perception, performing arts, visual arts, Vryfees.

Further, this study incorporated the use of both secondary data and primary data. Secondary

data was used to examine previous findings on the items of festival contribution to the arts and

to examine the importance of defining these items, while primary data was gathered through a

survey.

1.6.2 Empirical Survey

1.6.2.1 Research design and method of collecting data

This study attempted to determine the perceived contributions of three selected South African

arts festivals, namely KKNK, Innibos and Vryfees to the arts. These arts festivals were chosen

to accommodate differing geographical locations, varying lengths of existence ages and

differing sizes of festivals. An exploratory factor analysis research method was conducted for

the purpose of the study, where those items can be selected that is most related to the

construct (Henson & Roberts, 2006:394; Gorsuch, 1997:533). This is also done to evaluate how

each item relates to its own construct, as well has how it relates to other associated or similar

constructs (Gorsuch, 1997:533). Descriptive statistics were also been used to describe the

basic features of the data in the study for comparisons across units; providing simple

summaries about the sample and the measures (Trochim, 2006). The study was quantitative in

nature, collecting secondary data from existing sources, and collecting primary data by using a

structured, self-administered questionnaire that collected problem-specific information. Primary

data gave relevant and current information to the problem at hand and was casual in nature.

The data for the study was collected from visitors to KKNK between 31 March and 7 April 2012

in the Western Cape, at Innibos between 27 June and 1 July 2012 in Mpumalanga and at

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Vryfees between 10 and 15 July 2012 in the Free State. The use of secondary data, which is

easier to access, enabled the researcher to explore the arts phenomena of arts festivals in

general.

1.6.3 Sampling

A stratified sampling method was used to conduct the surveys during both festivals. Stratified

sampling takes place where the population is divided into a number of homogeneous, none-

overlapping groups, called strata. Within each stratum, independent sampling (e.g. availability

sampling) is then conducted (Maree & Pietersen, 2008:175; Farlex, 2012). Strata has been

formed in this study according to the paid shows (where festival visitors purchased tickets for

shows and/or productions), paid entrance festival grounds (at the social points, such as at the

stalls, the wine tasting booths and at picnic sites) and at the free shows in and around the area.

Respondents were asked to participate voluntarily and willingly. This sampling method has been

used to target respondents at the three arts festivals. A self-administered questionnaire was

handed to respondents to complete at these festivals either before a production or at distinct

relaxation points on each of the festival premises. This data-collecting method was chosen to

ensure a high response rate, clarification of the problem and the relatively low costs.

There are several approaches that may be used to determine the sample size. These include

the use of published tables or of applying formulae. Here, a formula has been used to calculate

the sample sizes needed from KKNK, Innibos and Vryfees. The appropriate formula, according

to Krejcie & Morgan (1970:607), is as follows:

s = X2 N P (1 - P) / d2 (N-1) + X2 P (1 - P)

where (s) is the sample size, (X2) the desired confidence level, (N) the population size, (P) the

population proportion and (d), the degree of accuracy expressed as a proportion. Krejcie &

Morgan (1970:608) state that when the population is given 100 000, the sample size is 384. The

level of precision (e) is 5% to compensate for surveys with sampling errors (for example, those

questionnaires that are not returned or are incomplete).

The first calculation was used to determine the sample size needed at KKNK. The number of

visitors to KKNK is annually 100 000 (KKNK, 2012b). This 100,000 (N) visitors to KKNK have

formed part of the population under study. With regard to the confidence level of 95%, the aim

was to hand out 650 questionnaires at KKNK during 31 March to 7 April 2012, where a total of

602 completed questionnaires have been collected. The next calculation was to determine the

sample size at Innibos. Innibos attracts 90 000 (N) visitors per year (InnibosKunstefees, 2012).

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The aim was to hand out 450 questionnaires, where a total of 407 completed questionnaires

were collected during 27 June to 1 July 2012. Vryfees has an annual visitation of over 30 000

(N) (Volksbladfees, 2012; Vryfees, 2012; Pissoort & Saayman, 2007:258). The aim was to hand

out 600 questionnaires at the festival from 10 to 15 July 2012, where a total of 575 completed

questionnaires have been collected. The combined sample size was enough to produce valid

results and to permit the formulation of useful, relevant and efficient conclusions and

recommendations concerning possible improvements at arts festivals that can be presented to

the organisers and managers.

1.6.4 Development of questionnaire

The questionnaire dealt with questions where respondents could give their perceptions

concerning the contributions of the festivals to the arts (Jackson & O‟Sullivan, 2002:327;

Nieman, 2003; Holden, 2004; Visser, 2005:160-162). It is a newly designed measuring

instrument based on literature, and was first tested at KKNK and later also used in the same

format at Innibos and Vryfees. The questions on the questionnaire were divided into two

categories, namely section A and section B. Section A focused on questions relating firstly, to

the performing arts and secondly, to the visual arts. The questions asked for the performing arts

were placed in the performings arts context, relating to all aspects pertaining from the

performing arts products and activities to the performing artists such as singers, dancers and

actors. The questions asked for the visual arts were exactly the same, but placed in the visual

arts context, relating to all aspects pertaining from the visual arts products to the visual artists

such as painters, sculptures, writers and photographers. The allocated questions to the

performing arts and to the visual arts focused on their particular contribution to the specific art

forms. .. For example, the arts festival can have different contributions to, say, music as an art.

It can have an (1) educational contribution, a (2) quality contribution, an (3) economic

contribution, a (4) growth and developmental contribution, a (5) marketing contribution or it

could make an (6) emotional contribution. For the development of the questionnaire, three

questions have been asked under each of the six mentioned categories of contribution by the

arts festival to both the performing arts and the visual arts. This was necessary to determine the

level of each contribution to the arts that an arts festival makes, at least as this was perceived

by the festival visitors. Twenty-three (23) statements under each form of arts were measured on

a 5-point Likert scale as from 1 to 5, where (1) I don‟t agree at all; (2) I moderately disagree; (3)

I agree; (4) I agree more; (5) I totally agree. In section B, additional questions measured the

personal involvement of the respondents to the arts to determine their role in the arts festivals‟

contribution to the arts. In this section the festival visitors‟ socio-demographic profiles were also

determined. These questions were somewhat different in style, for example open- and closed-

ended questions have been used together with a five-point Likert-type scale of agreement. The

17

questionnaire was based on the criteria found in the literature (see appendix for questionnaire

on page 253).

1.6.5 Survey

The research was done in three phases. The first survey was conducted during KKNK between

31 March and 7 April 2012, in Oudtshoorn, while the second survey took place during Innibos

between 27 June and 1 July 2012, in Mbombela (Nelspruit) and the third survey during Vryfees

between 10 and 15 July 2012 in Bloemfontein. The respondents was festival visitors and both

ticket buyers and non-ticket buyers for a show or production. A destination-based survey was

undertaken at each festival. This type of survey was needed because the respondents were

asked to complete the questionnaire in and around the festival areas. Questionnaires were

evenly distributed during the 2012 KKNK, Innibos and Vryfees surveys, where they were

handed out at various venues (for example, where the respondents entered or left an area or

where they waited for a production or show to begin). To distribute the questionnaires to the

respondents at these arts festivals, the study was conducted by field-workers from the Tourism

Department at the North-West University, Potchefstroom Campus. They have been trained to

ensure that they understood the aim of the study as well as the structure and aims of the

questionnaire. Training was also offered to approach the respondents and to assure the

potential respondents that the survey was both anonymous and confidential. Respondents at

both the festivals were free not to participate in the survey should they so choose.

1.6.6 Data analysis

The information collected from the questionnaires returned from the respondents at KKNK,

Innibos and Vryfees have been captured in Microsoft™ Excel™. The software programme,

SPSS, was used to process the data (SPSS, 2012). The SPSS programme is often used by

academics to calculate the relationships between variables. The use of this statistical software

turned data concerning KKNK, Innibos and Vryfees‟s contributions to the arts into usable

information (Kruger, 2009). T-tests were used to determine any statistical significant differences

between two components in this survey. An analysis of variance (ANOVA) was also used that

assessed the difference between the means of two or more groups (Eiselen, Uys & Potgieter,

2005:119). The purpose of ANOVA is to test whether there is a statistically-significant difference

in the contributions between groups. An Exploratory Factor Analyses were also used to cluster

the specific items of an arts festival that contributes to the arts. Effect-sizes have been

conducted to determine if there were statistically significant differences between the three

festivals and their unique contributions to the art forms.

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1.7 DEFINING THE CONCEPTS

The following defined concepts will be used regularly throughout the study:

1.7.1 Arts

The White Paper (1996:6) on Arts, Culture and Heritage defines arts as means for individual

and collective creativity and expression through performance, execution, presentation,

exhibition, transmission and study of forms such as traditional dance, drama, music, music

theatre, visual arts, crafts, design, written and oral literature”. According to Phillips & Steiner

(1999:7-90), art is free creation, unfettered by functional requirements; art is the imitations of

abstract ideas or natural objects; art is a reflection of culture as well as forms of interaction with

other cultures; art corresponds to a „scientific revolution‟: every work of modern art figures out a

new law, imposes a new paradigm, a new way of looking at the world; art expresses

meaningfully local experiences and processes; it conveys a message about regional and

national ethnicity; it emphasises personhood that alternates between individuality and dispersal,

capitalism and social relations; and art expresses ambiguities about self and identity. Zijlmans &

Van Damme (2008) describe arts as a means of self-expression and communication. They

further describe it as rare, elite, original and costly; that it is similar, or closely related to

concepts of beauty, skill, creativity, imagination, representational accuracy, or self-expression;

that it is composed of autonomous objects (paintings, sculptures, ceramics), or activities

(dances, songs, performances); that it is the province of specialists „artists‟ and are by no

means universally held or practised.

1.7.2 Performing arts

According to the Reader‟s Digest great encyclopaedic dictionary (1971:656), the term „perform‟

means „to carry out‟ or the „execution‟ of something, such as the performing of a play.

Performing arts can then be described as „all live productions‟ and share a common production

technique (Heilbrun & Gray, 2001:4). A performance is put on in a venue to which the audience

must come; the performance can be repeated in exactly the same way as often as might be

desirable to satisfy a larger audience (Heilbrun & Gray, 2001:4). The performing arts include

forms such as drama, dance and music (Heilbrun & Gray, 2001:4). Ultimately, the term

performing arts can be described as the arts that are primarlity performed before an audience

(Farlex, 2012).

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1.7.3 Visual arts

Visual art gives voice and language to the otherwise mute art object (Chaffee, 1984:312).

According to Edginton et al. (2004:219), the visual arts can be described as the decorative arts,

as beautiful objects for their own sake. Visual arts are an outlet for human expression and

provide a vehicle for the inherent desire of the individual to create. Communication is one of the

primary values of visual arts, which takes place through creativity, self-expression and

integration (Edginton et al., 2004:214). The visual arts include forms such as literature,

paintings, sculpture, photography, printing and crafts.

1.7.4 Perception

Krugman (1965:351) defined perception as the immediate memory one has when thinking of

something. According to the Reader‟s Digest great encyclopaedic dictionary (1971:655), the

term perception can be defined as an act or intuitive recognition of, or for, something.

Perception can also be defined as the expression of many things in one (Kulstad, 1982:66).

Schiffman & Kanuk (2009:152) and Strydom (2011:61) simplified the definition of perception as

the process by which an individual selects, organises and interprets stimuli into a meaningful

and coherent picture of the world. It can be described as „how we see the world around us‟

(Schiffman & Kanuk, 2009:152). These stimuli can be either physical (from the outside

environment) or internal (expectations, motives) based on previous experience (Schiffman &

Kanuk, 2009:158), for example, how the festival attendees „see‟ the arts festival‟s contributions

to the arts.

1.7.5 Arts festival

McIntosh, Goeldner & Ritchie (1995:157) state that art festivals allow a region or community to

celebrate its uniqueness, promote itself, develop local pride and enhance its economic value.

Getz (1997:4) further describes arts festivals as temporary occurrences, either planned or

unplanned, that has a finite length, where every event is a unique blending of its duration,

setting, management and people. Tassiopoulos (2010:5) agrees and defines art festivals as

presenting the visitor with a unique perspective of ordinary, everyday life with an opportunity to

participate in a collective experience where novelty is assured. Arts festivals can be grouped

into several categories, including high profile, general celebrations of the arts, festivals that

celebrate a particular location, art form festivals, celebrations of work by a community of

interest, calendar (including cultural or religious) festivals, amateur festivals and commercial

music festivals. It could be summarised that arts festivals involve the celebration of a theme or

event, of human creative skill in areas such as poetry, painting and music, and may involve the

20

celebration of an individual artist (Williams & Bowdin, 2007:306). According to Kruger & Petzer

(2008:113), an arts festival can be described as a community-themed event or celebration

designed to display different art forms and activities, along with the related tourism and

hospitality experiences.

1.7.6 Klein Karoo National Arts Festival (KKNK)

KKNK is one of South Africa‟s largest art festivals and is held annually during the March/April

school holidays in Oudtshoorn, in the Western Cape. The 18th annual KKNK was held in 2012.

It has evolved into a popular, Afrikaans, language-specific festival on the national arts calendar.

The festival includes both the visual and the performing arts. KKNK has produced a great deal

of all new Afrikaans theatre in the country since its existance.

1.7.7 Innibos Lowveld National Arts Festival

Innibos Lowveld National Arts Festival attracted more than 90 000 visitors to the city of

Mbombela in Mpumalanga from 27 June to 1 July 2012 (InnibosKunstefees, 2012; Kruger &

Saayman, 2012:148; Pissoort & Saayman, 2007:258). Over a period of six days, the festival

provides the visitors with a compilation of arts and entertainment products, services and

facilities, such as theatre and music productions and arts exhibitions. In the year 2012, the

attendee numbers on the festival grounds have grown with ten percent (10%), followed with

growth in ticket sales of 30% from 14 000 to a total of 17 000 (InnibosKunstefees, 2012).

1.7.8 Vryfees Arts Festival

Vryfees is one of the larger arts festivals in the country, when measured by ticket sales.

Vryfees, formally known as the Volksblad Arts Festival, was established in 2001 in conjunction

with the University of the Free State, then forming part of the NEWS 24 arts festival initiative.

The festival attracts more than 30 000 visitors, showcases over 225 productions and working

with more than 400 artists each year. The festival is held annually during the June school

holidays. It has grown rapidly from 2001 when 6 000 tickets were sold, to the 40 000 tickets sold

in 2010 (Vryfees, 2012).

http://en.wikipedia.org/wiki/Visual_arts

http://en.wikipedia.org/wiki/Performing_arts

21

1.8 PRELIMINARY CHAPTER CLASSIFICATION

This study will consist of six chapters. An abstract that outlines each chapter will follow to give

an idea of the information the different chapters will contain. All the chapters in this study work

to the resolution of the initial problem statement.

Chapter 1: Introduction and problem statement

Chapter 1 includes the introduction to the study, background to the study, problem statement,

aims and objectives, methods of research and definitions of the key concepts. The main reason

for undertaking the study was elucidated. The phenomena of festival tourism and the role of the

arts festivals on arts, introduce the study. It will identify the problem that arts festivals have in

that they do not always understand their specific contribution to the arts. This chapter provides

an overview of the importance of arts festivals to the arts.

Chapter 2: Literature review

Chapter 2 consists of the literature study. In this chapter the arts phenomenon is explored by

discussing, firstly, the relationship between the arts and culture; secondly, defining the arts by

looking at the characteristics and concept of the term arts; thirdly, exploring the arts related

tourism product with focus on arts festivals; and lastly, identifying the perceived contributions of

arts festivals to the arts.

Chapter 3: The festival visitors’ perception of the KKNK’s contributions to the arts

Chapter 3 (Article 1) determines the perceptions that the visitors to KKNK has, regarding the

festivals‟ contributions to the arts by means of a factor analysis. Further research is done to

determine whether perceived contribution to the arts differ regarding the socio-demographic

characteristics of the visitors to the KKNK by means of t-tests and ANOVAs.

Chapter 4: Differences regarding festival attendees’ involvement in the arts at both

Innibos and Vryfees

The fourth chapter (Article 2) determines the perceived contribution of Innibos and Vryfees to

the arts by means of factor analyses, and to further explore possible differences regarding

festival visitors‟ involvement in the arts at both these festivals in relation to their arts preference,

by means of t-tests.

22

Chapter 5: The festival visitors’ perception of KKNK’s, Innibos’s and Vryfees’s

contributions to the arts

Chapter 5 (Article 3) determines the perceived contribution of arts festivals in South Africa to the

arts through three arts festivals, namely KKNK, Innibos and Vryfees by means of a factor

analysis; followed by ANOVAs to explore possible differences between the three festivals in

terms of their contribution to the arts.

Chapter 6: Conclusions and recommendations

The final chapter, Chapter 6, consists of the conclusions to be drawn and the recommendations

to be made, based on the information and results in the previous chapters. The aim of the

recommendations is to give KKNK, Innibos and Vryfees organisers a more informed idea of the

perceptions that the festival visitors have of the respective contributions to the arts made by the

three festivals.

23

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LITERATURE REVIEW

“I put down a good book, stop listening to a piece of music, withdraw from the act of

imaginatively reaching towards the experience of another person through their careful art,

whatever it may be, and in that moment the world is suddenly more present, more strange,

more a source of wonder and respect than it had been when I started.”

Keaney, Bunting, Oskala, Saucek, & Smith, 2007:30

CHAPTER 2

34

2.1 INTRODUCTION

In this chapter, the arts phenomenon is explored firstly, by discussing the relationship between

the arts and culture; secondly, by defining the arts by looking at the characteristics and concept

of the term “arts”; thirdly, by exploring the arts-related tourism product with focus on arts

festivals; fourthly, by identifying the perceived contributions of the arts festival to the arts; and

finally, by stipulating some possible problems that the arts festivals can cause for these arts.

2.2 LITERATURE REVIEW

The following section provides an overview of the arts and culture relationship in defining the

arts. This overview will enable tourism and arts festival managers to approach the arts with

better understanding. The arts will firstly be explored through the lens of culture.

2.2.1 THE ARTS AND CULTURE RELATIONSHIP

The purposes of culture are to teach how to do things, how to think in order to organise the

world, and how to communicate verbally and non-verbally expressed behaviour (Reisinger &

Turner, 2012:12). The UNESCO and the World Commission on Culture and Development

define culture that serves the purpose of arts and culture tourism in their report Our Creative

Diversity (1995), as “the whole complex of distinctive spiritual, material, intellectual and

emotional features that categorise a society or social group. It includes areas such as creative

expression (for example, oral history, language, literature, performing arts, fine arts and crafts),

community practices (for example, celebrations and patterns of social interaction that contribute

to group and individual welfare and identity) and material or built forms such as sites, buildings,

landscapes, arts and objects.” This definition is supported by Ivanovic (2008:21) and by Anheier

& Isar (2008:3,8).

Culture can then be defined as a particular way of life, consisting of daily activities and modes of

existence, whether of an individual, a group or a particular period in time (Goeldner & Ritchie,

2009:264; Van Heerden & Du Preez, 2005:2; Hall, 1980:59). Culture may also be thought of as

being related to every aspect of the human condition (for example, encompassing the

experiences of being human in a cultural context) and can be seen as the social construction

(an idea or concept that people have built, where after they organise their actions and thoughts

around it), expression (the act of conveying, or representing in words, art, music, or movement)

and function of meaning (to determine or identify essential qualities) (Anheier & Isar, 2008:2).

35

When culture is defined, it opens a door whereby several characteristics can be identified in

understanding the term more comprehensively. These characteristics of culture are identified by

Anheier & Isar (2008:3) and Herbig (1998), as cited by Reisinger & Turner (2012:13), and

include the following considerations:

culture is the lived and creative experience of individuals and a body of artefacts, symbols,

texts and objects;

culture involves enactment and representation;

culture embraces the art and art discourses, the symbolic world of meanings and the

commoditised output of the cultural industries;

culture is constitutive of both individual and collective identity;

culture is the expressions of everyday life;

culture is closely related to the concept of communification, which refers to the ways that

meanings, artefacts, beliefs, symbols and messages are transmitted through time and

space, as well as being processed, recorded, stored and reproduced;

cultural forms and meanings are critical elements of many different productive, as well as

discursive, strategies;

culture provides guidelines for behaviour of a group of people;

culture results from human interaction and is unique to human society;

culture is learned from other members of the society;

culture changes as society changes and develops;

culture is the sum of acquired experience and knowledge;

culture offers direction and guidance; and

36

culture comprises of processes (for example, the ideas and the ways of life of people) and

forms the outcomes of those processes (for example, buildings, arts, artefacts and

customs) (Richards, 2001:7)

Cultural products and services can also be viewed as tourist attractions (Anheier & Isar,

2008:565; Ivanovic, 2008:24; Richards, 2001:7). People often visit cultural attractions to learn

about the lives and behaviour of others or even of themselves (Goeldner & Ritchie, 2009:264;

Faulkner, Moscardo & Laws, 2001:4). Cultural tourism has rapidly evolved from simply a niche-

market, a special interest division, to having since been recognised as a definable tourism form,

as an „alternative‟ type of tourism (Ivanovic, 2008:79; Richards, 2001:7; Hughes, 2012:5).

Cultural tourism can be defined in numerous ways. Primarily, it can be thought of as the

component of tourism oriented towards the culture of a particular country or community.

Richards (2001:7), Ivanovic (2008:76) and Hughes (2012:5) add that cultural tourism can also

be seen as the movement of tourists to cultural areas because of specific cultural motivations

where they can learn about the culture(s) of a destination and gain new insight and experiences

relating to a particular culture or a tradition thereof. In other words, the tourist is involved in the

consumption of the way of life of that particular cultural area visited (Ivanovic, 2008:76; Hughes,

2012:5). Its destinations may include cultural tourist attractions such as museums, theatres and

festivals (Anheier & Isar, 2008:565; Ivanovic, 2008:24; Richards, 2001:7). This particular type of

tourism thus is the movement of persons for essentially cultural motivations (Ivanovic, 2008:76;

Hughes, 2012:5). Hall & Zeppel (1990:87) looked at cultural tourism from a social point of view,

where they defined it as “a form of experiential tourism where the cultural tourist is involved in,

and is stimulated by, culture”. Goeldner & Ritchie (2009:264) and Faulkner et al. (2001:4)

support this view of cultural tourism, and in addition state that it is “a means of travel for the

purpose of learning about another‟s ways of life and thought and of experiencing the present

cultures of themselves and of others”. Thus, it seems evident that culture (in experiencing it,

participating in it and visiting it) is core to the essence of cultural tourism. Table 2.1 provides

definitions relating to culture and cultural tourism.

Table 2.1: Definitions relating to culture

TERM DEFINITION REFERENCES

Culture “Culture is that complex whole which includes knowledge,

beliefs, art, morals, law, customs, and any other capabilities and

habits acquired by a man as a member of society”

(Tylor, 1924:1, as cited by

Reisinger & Turner,

2012:5)

“Culture represents the ideas and practices, sites and symbols,

of what has been called „symbolic economy‟, the process

through which wealth is created from cultural activities, including

(Richards & Palmer,

2010:1)

37

art, music, dance, crafts, museums, exhibitions, sport and

creative design in various fields”

“Culture is directly and indirectly related to virtually every aspect

of the human condition and can be seen as the social

construction, expression and function of meaning”

(Anheier & Isar, 2008:2)

“Culture is a shared, learned, symbolic system of values, beliefs

and attitudes that shapes and influences perception and

behaviour”

(Barclay, 2008:25)

“Culture is a particular way of life, whether of an individual, a

group or a particular period in time”

(Van Heerden & Du Preez,

2005:2)

“Culture (from the Latin cultura, „tilling,‟ „upbringing,‟ „education,‟

„development,‟ “honoring”) (sic) is a system of historically

developing metabiological programs of human life activity

(activities and behavior) (sic) that ensures the reproduction and

alteration of social life in all of its major manifestations”

(Stepin, 2003:9)

“Culture is what people think (for example, values, attitudes,

believes and ideas), what people do (for example, way of life

and behaviour), and what people make (for example, cultural

products such as art works and artefacts)”

(Richards, 2001:7)

“Culture is the whole complex of distinctive spiritual, material,

intellectual and emotional features that categorise a society or

social group”

(UNESCO, 1995; Ivanovic,

2008:21; Anheier & Isar,

2008:3,9)

“Culture consist of patterns, explicit and implicit, of and for

behaviour acquired and transmitted by symbols, constituting the

distinctive achievements of human groups, including their

embodiments in artefacts; the essential core of culture consists

of traditional ideas and especially their attached values; culture

systems may be considered as products of action and as

conditioning elements of further action”

(Kroeber & Kluckhohn,

1985:181)

Cultural

tourism

“Cultural tourism is the movement of persons for essentially

cultural motivations that includes the visitation to the visual arts

(arts galleries) and to the performing arts (presented in theatres

and at festivals)”

(Hughes, 2012: 5; Ivanovic,

2008:76)

“Cultural tourism is a means of travel for the purpose of learning

about each other‟s way of life and thought and experiencing the

present cultures of themselves and of others”

(Goeldner & Ritchie,

2009:264; Faulkner et al.,

2001:4)

“Cultural tourism is the component of tourism oriented towards

the arts and culture of a particular country or community”

(Anheier &Isar, 2008:565;

Ivanovic, 2008:24)

“Cultural tourism markets cultural products to tourists as cultural

experiences”

(Kantanen & Tikkanen,

2006:99)

“Cultural tourism covers contemporary culture such as the

present day creativity in arts and crafts and performance”

(Hughes, 2002:167)

“Cultural tourism is where the tourists can learn about the culture

of a destination and gain new experiences related to that culture

(Richards, 2001:7)

38

in a number of ways, depending on the forms of culture they

consume”

“Cultural tourism is the experience of other places and cultures,

or to gain access to foreign cultures, different in time and space,

through artefacts housed away from their original locations”

(Prentice, 2001:7)

“Cultural tourism is tourism constructed, proffered and

consumed explicitly or implicitly as cultural appreciation, either

as experiences or through schematic knowledge gaining”

(Prentice, 2001:7)

“Cultural tourism is the consumption of cultural products of the

past and contemporary culture”

(Richards, 2001:7)

“Cultural tourism is the movement of persons for essentially

cultural motivations such as study tours, performing arts and

cultural tours, travel to festivals and other cultural events, visits

to sites and monuments, travel to study nature, folklore and art,

and pilgrimages”

(Richards, 1996:22)

“Cultural tourism is the movement of persons to cultural

attractions away from their place of residence, with the intention

of gathering new information and experiences to satisfy their

cultural needs”

(Richards, 1996:23)

“Cultural tourism is all movements of persons to cultural

attractions such as heritage sites, artistic and cultural

manifestations, arts and drama outside their normal place of

residence”

(Richards, 1996:23)

“Cultural tourism is a form of experiential tourism where the

cultural tourist is involved in, and stimulated by, the performing

arts, visual arts and festivals”

(Hall & Zeppel, 1990:87)

Culture-core

tourists

“Culture-core tourists travel in order to see cultural attractions” (Hughes, 2012:2; Hughes,

2002:170; Okumus, Avci,

Kilic & Walls, 2012:640)

Culture-

peripheral

tourists

“Culture-peripheral tourists travel for some non-cultural purpose

but who also visit cultural attractions”

(Hughes, 2012:2;Hughes,

2002:170; Okumus et al.,

2012:640)


From Table 2.1 and the identified characteristics, the term culture can be viewed as both

information and a communication system (Reisinger & Turner, 2012:9). Thus there exists a

relationship between culture and language, where language can be viewed as the symbolic

guide to culture; transmitting values, beliefs, perceptions and norms and facilitating perceptions

of the world (Sapir, 1964:70, as cited by Reisinger & Turner, 2012:9). Cultural differences create

differences in verbal and in non-verbal communication. Differences in language create different

ways of expressing beliefs, values and perceptions (Reisinger & Turner, 2012:9). The language

of culture is often expressed through the arts (of painting, music, dance, architecture, cinema,

39

etc.). The arts can thus be viewed as the means whereby culture is communicated (Stepin,

2003:13).

Therefore, the usage of culture is almost interchangeable with the arts, and culture can often be

referred to as the term “arts” (Hughes, 2012:14). Culture can then be seen as playing an

integral part in defining the arts (Waterman, 1998:55). For the purpose of this study, the focus

will be narrowed to that part of culture called “the arts”. The arts are put in context in the

following section.

2.2.2 THE ARTS IN CONTEXT

The term “arts” is complex in definition for, in order to define the arts, the term must be viewed

as a whole. In general, the arts refer to works and activities such as music, ballet, drama, opera,

as well as paintings and sculptures (see Figure 2.1).

Terms such as refinement, learned, serious, creative, enlightenment, expressive, fundamental,

purposeful, emotional, inspirational and cultured are often used in relation to the arts (Hughes,

2012:13). Hughes (2012:13) offers that the arts are associated with being something “more than

the ordinary man or woman could either produce or appreciate without training, education and

effort”. In addition, the author adds that the arts can also be regarded as “the work of the

highest levels of human creative ability of talented people”. Phillips & Steiner (1999:7,14) give

additional definitions to the arts and state that the arts are free creation and imitations of

abstract ideas or natural objects. Table 2.2 provides additional definitions relating to the arts.

Table 2.2: Definitions relating to the arts

TERM DEFINITION REFERENCES

Arts “Arts are all forms of traditional dance, drama, music, music

theatre, visual arts, crafts, design, written and oral literature

all of which serve as means for individual and collective

creativity and expression through performance, execution,

presentation, exhibition, transmission and study”

(White Paper, 1996:6;

Hughes, 2012:2)

“Arts are free creation unfettered by functional requirements” (Phillips & Steiner, 1999:7)

“Arts are imitations of abstract ideas or natural objects” (Phillips & Steiner, 1999:14)

“Arts corresponds to a „scientific revolution‟: every work of

modern art figures out a new law, imposes a new paradigm, a

new way of looking at the world”

(Phillips & Steiner, 1999:90)

“Arts are a reflection of culture as well as forms of interaction (Phillips & Steiner, 1999:29)

40

with other cultures”

“Arts is the newly invented and theorized artefact, once it has

been separated from its customary social and ritual roles,

where it is free to be for a different purpose and clientele”


“Arts are a symbol of collective identity” (Waterman, 1998:55)

“Arts is a symbol of collective activity, which forms part of

culture”

(Waterman, 1998:55)

Tourist-arts “Tourist arts can be viewed as ethnic; relating to, or

characterised by a sizable group of people sharing a common

and distinctive racial, national, religious, linguistic, or cultural

heritage”

(Phillips & Steiner, 1999:16;

Farlex, 2012)

“Tourist arts are the development of art forms because of the

interaction with other cultures rather than a sign of the

destruction of the maker‟s cultures”


“Tourist arts products are developed from traditional arts and

becomes export and import items in a cross-cultural

exchange substantiate the continued existence of both

cultures”


“Tourist arts are an indicators of the strong and sustained

cultural existence”


“Tourist arts express meaningfully local experiences and

processes”


“Tourist arts convey message about regional and national

ethnicity”


“Tourist arts emphasise personhood that alternates between

individuality and dispersal, capitalism and social relations”


“Tourist arts express ambiguities about self, identity and the

ethnicity and the world expands into a state of global

modernity”

(Phillips & Steiner, 1999:66

Artist “An artist is passionate, visionary, innovative, risk taker,

networker and leader”


“An artist creates the idea, product or service” (Anheier & Isar, 2008:98)

“An artist is an entrepreneur in the sense that his ideas are

converted into cultural goods (innovator)”


“An artist is free in their existence of reason”


“An artist is an autonomous creator”


“An artist is subject to the tastes, preferences, ideas and

aesthetic notions of those who influence the market; they

often affect the content as well as the form of a work of art”



41

The term “arts” then encompasses a full range of characteristics. As in the case of culture, it

becomes necessary to explore these characteristics to fully understand the meaning of the

term, “arts”. Studies made by Phillips & Steiner (1999:7-90) and Zijlmans & Van Damme (2008)

identified several characteristics of the arts that include the following:

the arts are free creation;

the arts are unfettered by functional requirements;

the arts are the imitations of abstract ideas or natural objects;

the arts are a reflection of culture as well as forms of interaction with other cultures;

the arts correspond to a „scientific revolution’: every work of modern art figures out a new

law, imposes a new paradigm, a new way of looking at the world;

the arts express meaningfully local experiences and processes;

the arts convey a message of regional and national ethnicity;

the arts emphasise personhood that alternates between individuality and dispersal,

capitalism and social relations;

the arts express ambiguities about self and identity;

the arts are a means of self-expression and communication;

the arts are rare, elite, original and costly;

the arts are similar, or closely related to, concepts of beauty, skill, creativity, imagination,

representational accuracy, or self-expression;

the arts are composed of autonomous objects (paintings, sculptures, ceramics), or activities

(dances, songs, performances);

the arts are created for their own sake as an expression of the creator‟s vision and are not

created primarily with a view to making money;

42

the arts are global as, in most instances, people do not have to visit the place of origin of

the art to gain access to it (Ivanovic, 2008:83);

the arts are the province of specialist artists and are by no means universally held or

practised;

the arts have no limitations; and

the arts cannot be restricted by ability, age or cultural background.

As is evident from the above, the term “arts” is exceptionally broad. The arts can perhaps be

defined more clearly as a term comprising of a mixture of two divisions (see Figure 2.1). The

term arts serve as an umbrella term, covering both these divisions, namely the performing arts

and the visual arts (Hughes, 2012:5). The first division is that of the performing arts. According

to Farlex (2012) and the Reader‟s Digest great encyclopaedic dictionary (1971:656), the term

“perform” means “to carry out” or the “execution” of something, such as the performing of a play.

The performing arts are thus those where the participant is the mode of artistic expression and

so can be described as all live productions, sharing a common production technique (Heilbrun &

Gray, 2001:4). Heilbrun & Gray (2001:4) further identified characteristics of performing arts,

when they state that the performing arts “are an activity, presentation or performance that is

staged in a venue or outside arena, to which the audience must come and where the activity,

presentation or performance can be repeated in exactly the same way, as often as might be

desirable, to satisfy a larger audience”. As outlined in Figure 2.1, the performing arts include

forms such as drama, dance and music (Heilbrun & Gray, 2001:4).

Figure 2.1: The arts


The arts

Performing arts

Live performances of plays, opera, music, dance, shows, etc.

Visual arts

Paintings, sculptures, literature, crafts, photography, etc.

43

The second division of the arts are the so-called visual arts (see Figure 2.1), which are often

referred to as the “fine arts”. Visual arts give voice and language to the otherwise mute art

object (Chaffee, 1984:312). According to Edginton, Hudson, Dieser & Edginton (2004:219), the

visual arts can be described as “the decorative arts, as beautiful objects for their own sake”.

According to Edginton et al. (2004:214), it is the product of the artistic expression in the visual

arts that is important. Visual arts can then be seen as an outlet for human expression, where

communication is one of the primary values. This takes place through creativity, self-expression

and integration (Edginton et al., 2004:214). The visual arts include such forms as literature,

paintings, sculpture, photography, printing and crafts.

Writing and literature, as an art form, can be classified either as performing arts or as visual

arts. In this study, based on literature produced by Chaffee (1984) and Landwehr (2002), the

term “literature” will be included with the visual arts division. These researchers believe that the

principal meaning of the term literature is a “description” and, in particular, a verbal depiction of

either an actual or make-believe work of art. They further indicate that some ideas are better

expressed by, for example, literature than by painting and that words (literature) can create

visual art (Chaffee, 1984:312; Landwehr, 2002).

The definition of the arts within these divisions is clearer in that the definition fully explores the

arts concept. The following section gives an overview of the arts-related tourism product in

further exploration of the arts phenomena.

2.2.3 THE ARTS-RELATED TOURISM PRODUCT

In this section, the arts and tourism are brought together and are examined in terms of their

relationship.

2.2.3.1 Arts tourism

A significant relationship exists between the terms “arts” and “tourism” (Hughes, 2012:7;

Richards, 2001:7). Arts attractions, such as arts festivals (for example, the Klein Karoo National

Arts Festival and Innibos Arts Festival), arts museums and galleries (for example, ABSA Gallery

in Johannesburg, African Feelings Gallery in Sandton) and cultural theatres (for example,

Artscape in Cape Town) all have a tourism connection (Goeldner & Ritchie, 2009:276). This

arts-tourism link is illustrated in Figure 2.2.

44

Figure 2.2: The relationship between the arts and tourism

Source: Adapted from Hughes (2012:3)

The relationship between the arts and tourism can be classified as arts tourism. According to

Ivanovic (2008:84), tourism can be beneficial to the arts in that it provides audiences with

access to a wide range of arts events (such as festivals and art galleries); secures deserved

recognition for the arts; and secures funding for arts initiates. In addition, as the numbers and

range of cultural facilities have increased, there has been a considerable increase in the

opportunities for arts tourism (Hughes, 2012:69). Any play, show, concert, festival (focus on arts

festival), etc. that has the potential to attract audiences is an element of the arts tourism product

(Hughes, 2012:78) and can thus be seen as an arts tourism attraction (Hughes, 2012:131;

Richards & Palmer, 2010:22).

Arts tourism can be thought of as travel for the purpose of experiencing the elements of culture

such as the arts of opera, ballet, museum exhibitions, theatre and festivals (Ivanovic, 2008:83;

Hughes, 2012:2). Tourism can thus create a channel whereby traditional and new art forms can

gain support and so help to broaden an audience for the arts (Ivanovic, 2008:83). In exploring

the arts tourism phenomena as a whole, the following terms associated with arts and tourism

have been identified and are displayed in Table 2.3.

Table 2.3: Definitions relating to the arts and tourism

TERMS DEFINITIONS REFERENCES

Arts-related

tourism

“Arts tourism is any tourism that includes a visit to the arts

(regardless of initial interest)”

(Hughes, 2012:2)

“Arts tourism is travel for the purpose of experiencing the elements

of culture such as the arts of opera, ballet, museum exhibitions,

theatre and festivals”

(Ivanovic, 2008:83)

“Arts tourism has been used to cover visits to museums, art galleries

and theatre”

(Hughes, 2002:167)

Tourism

Arts

Arts festivals

Heritage

Art museums

Sun and sea

45

Arts-core tourists “Who travel in order to see the arts” (Hughes, 2012:2)

“Arts tourists is any who attended or visited any of the arts

regardless of interest, though there was also an acknowledgement

of several degrees of interest in the arts as a reason for the visit”

(Hughes, 2002:168)

Arts-peripheral

tourists

“Who travel for some non-arts purpose but who also see the arts” (Hughes, 2012:2)


These terms illustrate the relationship between the arts, on one hand, and tourism, on the other.

They illustrate, in particular, two aspects of the relationship (see Table 2.3):

Some arts have the ability to draw audiences from a great distance (Goeldner & Ritchie,

2009:276). Audiences who are attracted to a place by the arts may be termed „arts-core‟

(Hughes, 2012:7; Hughes, 2002:2).

Arts may be listed as additional visiting attractions by the people who are away from home

for other purposes. These audiences may be termed „arts-peripheral‟ (Hughes, 2012:7;

Hughes, 2002:2).

To stimulate arts tourism, the development of an arts product must be the production of

something distinctive (Hughes, 2012:189). The arts product (for example, music, dance, plays)

must be rarely produced pieces. The productions must be of high standard and/or quality. There

can also be a „star name‟ in productions (such as famous artists like Sandra Prinsloo and

singers such as Theuns Jordaan) (Hughes, 2012:189). Arts products can also include festivals

(Quinn, 2006). The following section will explore the concepts relating to festivals in order to

better define the term “arts festival”.

2.2.3.2 The arts festival

Arts festivals play an important part in the arts tourism industry (Goeldner & Ritchie, 2009:229;

Quinn, 2006:289). Festivals (being generally defined as a specific manifestation of events (Page

& Connell, 2012:353) are the fastest growing segments of tourism in the world (Goeldner &

Ritchie, 2009:227). The term festival is applied to many activities. Essentially, festivals are

special events where there is a particular concentration of activities over a short period of time

(Hughes, 2012:89). They can serve as a powerful tool to attract tourists during the off-season

and to create an image and awareness for an area (Hughes, 2012). Festivals thus have the

ability to spread tourism geographically and seasonally. Special events, such as the festival,

allow a region or community to celebrate its uniqueness, promote itself, develop local pride and

46

enhance its economic well-being (Goeldner & Ritchie, 2009:229). Table 2.4 gives a number of

definitions relating to events and festivals.

Table 2.4: Events and festivals defined


Event “Events are special, one-off, unique and beyond everyday experience,

setting it apart from daily routine activities”

(Berridge, 2012:5)

“Events are unique moments in time with ceremony and ritual to

satisfy specific needs”

(Berridge, 2012:5)

“Events are opportunities for leisure, social or a cultural experience

outside the normal range of choices or beyond everyday experience”

(Berridge, 2012:5)

“Events are temporary occurrences which is either planned or

unplanned with a finite length of time”

(Tassiopoulos,

2010:12)

Festival “A festival provides authenticity and uniqueness, convenient

hospitality and affordability as well as theming and symbols for its

participants and spectators”

(Yeoman, Robertson,

Ali-Knight, Drummond

& McMahon-Beattie,

2012:33).

“A festival is a time for celebration as is implied with the term feast

from which festival is derived”

(Yeoman et al.,

2012:33)

“A festival provide a showcase for local talent” (Allen, O‟Toole, Harris

& McDonnell, 2012:48;

Mayerfield & Crompton,

1995:41)

“A festival is an event, usually and ordinarily staged by a local

community, which centres on and celebrates some unique aspect of

that community and the festival”

(Farlex, 2012)

“A festival is a celebration of something the local community wishes to

share and which involves the wider public as participants in the

experience”

(Hall & Sharples,

2008:9)

“A festival host all forms of entrepreneurial display” (Quinn, 2006:927)

“A festival is a regular public celebration that is organised by members

of the community and has clear and strong community support”

(Inkei, 2005:6).

“A festival is a time where people do something out of the norm, they

abstain from the norm and they invert patterns of daily social life”

(Saayman & Saayman,

2004:150)

“A festival is a traditional event staged to increase the tourism appeal

to potential visitors”

(Uysal & Gitlesons,

1994).

“A festival can be cultural artefacts which are not simply bought and

consumed' but which are also accorded meaning through their active

incorporation into people's lives”

(Jackson, 1993:208-

209).

“A festival consists out of generic gaiety, conviviality, cheerfulness” (Falassi, 1987:1)

“A festival is a social phenomenon encountered in virtually all human

cultures”

(Falassi, 1987:1)

47

“A festival is a sacred or profane time of celebration, marked by

special observance”

(Falassi, 1987:1)

“A festival is the annual celebration of a notable person or event, or

the harvest of an important product”

(Falassi, 1987:1)

“A festival is a cultural event consisting of a series of performances of

works in the fine arts, often devoted to a single artist or genre”

(Falassi, 1987:1)

“A festival is something exceptional, something out of the ordinary,

something that must create a special atmosphere which stems not

only from the quality of the art and the production, but from the

countryside, the ambience of a city and the traditions of a region”

(Isar, 1976:131)

A festival is defined as an event celebrating a unique aspect of a

particular community and can be once off or re-occurring

(Author‟s own

adaptation of the term)

Festival

tourism

“Festival tourism is a phenomenon in which people from outside a

festival locale visit during the festival period”


2002)

“Festival tourism is where festivals strive to function as tourist

attractions where tourists are attracted to festivals”


2002)


Jackson & O‟Sullivan (2002) define festival tourism as “a phenomenon in which people from

outside a festival locale visit during the festival period”. At other times, the use of the term

seems to be founded on a number of assumptions: that festivals inevitably strive to function as

tourist attractions, that tourists are invariably attracted to festivals, and that a relationship exists

between the growth of festivals and tourist demand. The implication is that there exists a strong

association between festivals and tourism (Quinn, 2006:289).

People seek meaning, novelty and identity, all of which contribute to the development of arts

tourism and thus to the development of festivals also (Hughes, 2012:64). These terms can be

defined as follows:

Meaning can be defined as the stable movement (true meaning and authenticity) towards

arts tourism. Meaningful experiences can be obtained from participation in or viewing of the

arts (Hughes, 2012:64). This may be true in the case where people attend festivals; where

they participate by attending the productions on offer or by experiencing the unique arts

atmosphere at the festival.

There is a continuing search for novelty and for experience for stimulation and excitement

(Hughes, 2012:65). The arts festival as a tourist attraction in arts tourism can provide new

and exciting ways of enriching peoples‟ lives through knowledge building and creativity

stimulation.

48

Identity creates interest in the arts. Hughes (2012:65) states that the arts may have an

approach to life that is characterised by learning and by a concern for identity, style and

new experiences. The festival may provide these outcomes to those visiting and

participating in them.

As this study concerns the arts, emphasis will be placed on the arts festival. An arts festival can

be defined as “an festival that must present over a short period of time (usually between three

days and four weeks) a variety of works created or produced by other professional

organisations or artists working in diverse artistic disciplines, such as performing arts, visual

arts, media arts, or literature” (Inkei, 2005:6). Table 2.5 gives some definitions applied to the

terms “arts festival” and “combined arts festival” in order to facilitate an understanding of the

specific distinctions between these terms as used in arts tourism.

Table 2.5: Definitions relating to arts festivals


Arts festival “An arts festival is a festival that focuses on the visual arts in all its forms, but

which may also focus on or include other arts. Arts festivals in the visual arts

are exhibitions and are not to be confused with the commercial art fair”

(Farlex, 2012)

“Art-form festivals specifically focus on a „specific art form, offering unique

opportunities for audiences to see particular kinds of work; they may also

address the development of that art form by providing a focus for critical

debate, master classes, commissions of new work etc.”

(Bowdin, Allen,

Harris,

McDonnell &

O‟Toole,

2012:23)

“Arts festivals are usually short-term, special events, offering unique

opportunities to see and hear performances and activities under exceptional

circumstances”

(Hughes,

2012:91)

“An arts festival is a relatively large number of artists and performances

together in one place over a concentrated period of time”

(Hughes,

2012:91)

“An arts festival is universal and displays considerable diversity in the forms

as well as types of art that is featured”

(Tassiopoulos,

2010:15)

“An arts festival can be described as a community-themed event or

celebration designed to display different arts forms and activities, along with

the related tourism and hospitality experiences”

(Kruger &

Petzer,

2008:113)

“An arts festival involves the celebration of a theme or event, of human

creative skill in areas such as poetry, painting and music, and may involve

the celebration of an individual artist”

(Williams &

Bowdin,

2007:306)

“An arts festival is an event usually focussed on the presentation of the arts

and the selection of programming is guided by an artistic vision”

(Inkei, 2005:6).

“An arts festival must present over a short period of time (usually between

three days and four weeks) a variety of works created or produced by other

(Inkei, 2005:6).

http://encyclopedia.thefreedictionary.com/Festival

http://encyclopedia.thefreedictionary.com/Visual+arts

49

professional organisations or artists working in diverse artistic disciplines,

such as performing arts, visual arts, media arts, or literature”

“An arts festival has its primary focus on the development, presentation

and/or participation in the arts. This would exclude festivals that have just

one or two art components”

(Inkei, 2005:6).

“An arts festival has a programme conceived, produced, curated, marketed

and presented as an integrated package. This implies the existence of an

overall artistic vision”

(Inkei, 2005:6).

“An arts festival occurs within a defined area/region and within a defined

period of time”

(Inkei, 2005:6).

“An arts festival was developed to display different art forms” (Quinn, 2005)

“An arts festival is where plays, performances and other arts events are

effectively launched and displayed for the public today”

(Hauptfleisch,

2004:239)

“Arts festivals are cultural commodities, and as such symbolize (sic) some of

the debates in contemporary human geography, providing examples of how

culture is contested”

(Waterman,

1998:5)

“An arts festival shares various unique characteristics that include intense

artistic output, a clear time-specific programme presented with a clear aim

and direction”

(Rolfe, 1992).

An arts festival can be defined as a event celebrating a variety of art

forms and genres that can be once off or reoccurring

(Author‟s own

adaptation of the

term)

Combined

arts festival

“Combined arts festivals are arts festivals that seek to attract broader

audiences by offering various genres of arts that may be attractive to a wider

range of people, as opposed to a niche or single genre festival”

(Finkel, 2009:5)

“Combined arts festivals are arts festival containing more than one genre of

artistic performance, that is, music, drama and visual arts events, as opposed

to those presenting in only one single genre of arts, such as film festivals”

(Casey, Dunlop

& Selwood,

1996:93)


As indicated by Table 2.5, the term arts festival has been widely researched in the past. Since

early years, the arts festival has provided unique arts programmes, contributing in different

ways to the arts and to the forms that it hosts. The arts festival can be seen as a place where

art lovers, artists and festival experience-seekers come together in order to enjoy the arts and

festivities on offer (Hughes, 2012:91).

Of course, different arts can be present at arts festivals (Snowball, 2010:193; KKNK, 2011;

KKNK, 2012; InnibosKunstefees, 2012; Vryfees, 2012). Each art festival can host a wide

compilation of art forms, either just presenting the performing art or the visual arts, respectively,

or a combination of different arts specifically combined for that particular event. The most

common art forms presented by arts festivals in South Africa can be seen in Table 2.6, together

with a short definition of each.

50

Table 2.6: Arts present at South African arts festivals

PERFORMING ARTS DESCRIPTION REFERENCES

Productions

(Drama, Comedy,

Film, Theatre)

“A situation or display that is exaggerated or unduly

complicated”

(Farlex, 2012)

“Performing was frequently referred to as a „chance to be

something you‟re not‟ or to „live a life that you don‟t live‟”

(Pitts, 2009:155)

“It refers to the entire complex of processes occuring in and

around a playing space at a particular time, which includes

performers, text, audience and the greater context (historical,

economic, social, political, cultural) within which it all takes

place”

(Hauptfleisch,

2004:280)

Music

(opera, street theatre,

concerts, live music,

classic, popular,

folklore)

“The art of arranging sounds in time so as to produce a

continuous, unified, and evocative composition, as through

melody, harmony, rhythm, and timbre”

(Farlex, 2012)

“Part of human culture, reflecting deeply cultural, often

religious or spiritual roots, evolving in many ways and

directions”

(Anheier & Isar,

2008:472)

Dance

(dance productions,

street performances,

pageantry)

“To move rhythmically usually to music, using prescribed or

improvised steps and gestures”

(Farlex, 2012)

“The art of composing dances for the stage, especially in

conceiving and realizing (sic) the movements of the dancers”

(Farlex, 2012)

VISUAL ARTS DESCRIPTION REFERENCES

Literature and

publishing

(storybooks, poetry,

book clubs, oral

literature, magazines)

“The body of written works of a language, period, or culture” (Farlex, 2012)

“Imaginative or creative writing, especially of recognised

artistic value”

(Farlex, 2012)

Handcrafted

arts/goods

(traditional arts, craft

art, functional ware,

sculptures, souvenirs,

designer goods,

graphic art, fine arts)

“Skill in doing or making something, as in the arts” (Farlex, 2012)

“Crafted goods offer an imagined access to a world of

difference, constituted as an enhancement of the new owner‟s

knowledge, power or wealth. Such objects evoke curiosity,

awe, fear, admiration, or contempt”


1999:3)

Paintings

(graphic depiction)

“The process, art, or occupation of coating surfaces with paint

for a utilitarian or artistic effect”

(Farlex, 2012)

“A picture or design in paint” (Farlex, 2012)

51

Photography

“Acts as a tool for recording things or events mechanically in a

so-called objective manner (objective recorder of reality)”

(Swanepoel, 2005:202;

Farlex, 2012)

“It has been used as a means of interpretation or as a way of

commenting on the world in which we live (interpreting reality)”

(Swanepoel, 2005:202)

Source: Adapted from Snowball (2010:193), KKNK (2011), KKNK (2012), InnibosKunstefees (2012) and

Vryfees (2012)

The most popular arts present at arts festivals are thus live performances of music, dance and

theatre productions (the performing arts), as well as paintings, sculptures, photography,

literature and handcrafted goods (the visual arts). People visit arts festivals in order to

experience these forms (Bowdin et al., 2012:23; Hughes, 2012:91)

The following section examines the role of arts festivals, in the event context, as tourist

attractions. Given the wide range of definitions, some aspects of the term arts festival are

mentioned more than once. In order to better understand the arts festival phenomenon, the arts

participation, arts attendance, arts experience and art support concepts are emphasised in the

following sections.

2.2.3.2.1 Arts participation and attendance at arts festivals

The results of studies previously completed by Dimaggio & Useem (1978), Hughes (2012) and

Keaney (2008) strongly suggest that there exists a difference between the arts festival attendee

and those not interested in the arts. People who go to the arts are relatively well-off, well-

educated and in the older age categories (Dimaggio & Useem, 1978:185; Keaney, 2008:102;

Richards & Palmer, 2010:322; Hughes, 2012:144). There exists a solid relationship between

education and arts participation (Dimaggio & Useem, 1978:185; Keaney, 2008:102; Hughes,

2012:16). Adults who attended graduate school have the highest attended rates for every arts

activity and participation is also highest among the higher income groups (Hughes, 2012:16).

According to Hughes (2012:17), educational attainment of the arts is the single most powerful

determinant of arts participation. People who understand and participate in the arts (or such

artistic activities) are said to be cultured (Hughes, 2012:14; Ivanovic, 2008:21).

The motivations for attending the arts are wide-ranging, from awareness to the arts through to

mere escapism and boredom (Cooper & Tower, 1992, as cited by Hughes, 2012:17). Hughes

(2012:17) states that “the arts provide the opportunity not only to expand the mind and senses,

but also to relax, to escape and fantasise, to be out in the company of others and to afford an

opportunity for display. Going to see live performances offers the opportunities to see, meet and

be with others, and equally, to be seen by others”.

52

Going to see the arts is also influenced by childhood exposure to the arts. People who have

grown up with little or no exposure to the arts are less likely to go in adulthood (Dimaggio &

Useem, 1978:187). This means that some people are „comfortable‟ with going to the arts

festival, they know what to expect and how to behave. People who are not familiarised in their

early years may lack this „comfort‟ factor (Hughes, 2012:17). Children of the well-educated are

more likely than are others to have been exposed to the arts while they were young, and this

early socialisation persists into adulthood (Dimaggio & Useem, 1978:187). Although higher

education provides exposure to an environment where the arts are valued (Bourdieu, 1968:594

as cited by Dimaggio & Useem, 1978:187), a work of art only exists as such for a person who

has the means to appreciate it.

In order to participate in the arts, there are several dimensions to the supply of the arts.

Composers, play writers, choreographers, the people who create the artistic works (performers

such as musicians, lyricists, actors and dancers) and technical staff for lighting, sound and

scenery, all play an important role in the provision of the arts (Hughes, 2012:17) at an arts

festival.

Dimaggio & Useem (1978:192) suggest that the arts audience has a core group who frequently

attend a variety of events, together with various peripheral groups who occasionally sample

perhaps only a single art form. These groups can be seen as:

those near the centre and that constitute active arts social circles;

those comprising friendships and acquaintanceships that are formed around a shared

interest in the arts;

those where cultural events are central topics of informal discussion and exchange; and

where there is a strong expectation of high attendance at, and knowledge of, the arts.

The following table (Table 2.7) provides a comprehensive picture of the arts extent and nature

of arts engagement among festival attendees, as well as of the principle motives of those who

attend and participate in various events and activities present at festivals (Keaney, 2008:99-

100).

53

Table 2.7: Attendance at and participation in the arts

ATTENDANCE AT AND PARTICIPATION IN THE ARTS

Attendance at the arts Participation in the arts

Craft exhibition Singing to an audience

Event connection with books or writing Playing a musical instrument to an audience, or for

pleasure

Street arts Writing music, stories, plays, poetry

Carnival Performing in a play, drama, opera

Culturally-specific festival Painting, drawing, photography

Play, drama, other theatre performances Making films or videos

Contemporary dance, ballet, African people‟s dance,

other live dance events

Textile crafts, wood crafts, other crafts

Video or electronic art event Building original art, crafts

Classic musical concert, jazz performances, other live

music events

Read and /or purchase books

Exhibition or collection of art, photography or sculpture Ballet, other dance

Top 5 main reasons for attending arts events

Top 5 main reasons for participating in arts

activities

1. Like going for type of event 1. Enjoyment

2. See specific performer event 2. Relaxation

3. Spend time with friends and family 3. To learn or develop skills

4. Accompanying children 4. To make things for oneself or gifts for others

5. Special occasion and celebration 5. Accompanying children

Source: Adapted from Keaney (2008:100)

Further the arts can produce collective benefits to those who consume them (Heilbrun & Gray,

2001:226). These benefits consist of the joy, stimulation and enlightenment that individuals gain

when they attend the live performing arts, visit museums, galleries and arts festivals or who are

otherwise engaged with works of art. Heilbrun & Gray (2001:226) identified some of these

benefits that can be viewed as the following:

The preservation of arts and culture as a legacy for future generations. This applies not only

to the preservation of books and monuments, but also to the maintenance of the skills,

tastes and traditions required for on-going excellence in the arts.

For national identity and prestige. Some people take pride in the national or international

recognition received by the artists and performers of their own country.

54

Benefits to the local economy. The arts may attract out-of-town consumers and induce new

firms to start up or re-locate.

Contribution to a liberal education.

Social improvements of arts participants. Participation in the arts betters the humanity of

participants human beings by exercising their sensibilities or by exposing them to the

highest and best achievements of their fellows.

Encouraging artistic innovation.

2.2.3.2.2 Experiencing the arts

Keaney (2008:108) conducted a study where participants talked of how they had been drawn

into or had first experienced the arts. “It seemed that people had often come to art through

social networks and dynamics, rather than through the art itself”. Many felt that their interest in

the arts had been moulded in childhood or to attend a performance. Others pointed to the

influence of a specific individual: a teacher, relative or a member of their peer group who had

drawn them into the arts. The impact of the arts themselves has also influenced others to

involvement and desire in the arts.

2.2.3.2.3 Support for the arts

Some of the important reasons for support given to the arts by local and national governments,

sponsors and by events, such as festivals and celebrations, are as follows;

Hughes (2012:23) states that the importance of arts lies in their representation of the best

of human achievement and in their ability to enhance the quality of life of people who

experience them.

There is often a problem for the arts to generate sufficient revenue to survive. Support is

therefore given to encourage new talent. It is also given to ensure that existing artists can

survive and flourish (Hughes, 2012:24).

It is necessary and appropriate to help create and sustain imagination and inquiry,

encouraging freedom of thought and facilitating the conditions for release of this creative

talent. The quality of free-thinking would be lessened and new artistic outputs would not

emerge without such support (Hughes, 2012:24).

55

Support to the arts is justified in the form of enabling the arts to survive and also by keeping

prices down to make it accessible to all (Heilbrun & Gray, 2001:103). In this way,

participation and attendance in the arts are encouraged (Hughes, 2012:24).

Arts are considered to be worthy of support because of their ability to attract tourists and

create jobs or help the balance of payments (Hughes, 2012:24).

On the other (and complementary) hand, tourism can prove beneficial to art as it provides

audiences seeking access to a wide range of arts events, it secures deserved recognition

and so secures funding for the arts initiatives (Hughes, 2012:24).

The justification for support for the arts reflects the views that they are somehow special and

worthy of support, more so than are other leisure activities (Hughes, 2012:24).

2.2.4 THE CONTRIBUTION OF ARTS FESTIVALS TO THE ARTS

The first step in creating an arts festival is to examine the reasons for doing it (Korza & Magie,

1989:3). Hughes (2012:90) notes that arts festivals were established for many different reasons

including:

artistic vision reasons include a desire to celebrate, to promote awareness of and to

increase understanding of a particular art form or culture. This may be so particularly when

opportunities for performances are otherwise limited;

to enable arts attendance by local residents in small towns or rural areas where there are

few other opportunities;

to provide opportunities, that would otherwise not be available, for locals to attend arts

events;

to improve local access to the arts;

to encourage community coherence through participation; and

to encourage a desire to exchange ideas, to test skills, to explore one‟s senses, to interact

with people who share common or different values and lifestyles and to renew cultural ties

within the community (Faulkner et al., 2001:157).

56

Because of its significance in the tourism experience, it is not surprising that the tourism

industry has become involved in several ways with the arts, including encouragement and using

them in tourism products, such as arts festivals (Hughes, 2012:129). In contributing to the arts

in these identified manners, this can lead to an additional market. There is a demand for arts

festivals that provides an opportunity for commercial exploitation. Secondly, it can lead to a

growth and expanding of the arts in the market. If the arts are believed to be beneficial and arts

festivals, as tourism products, contribute to the existence of the arts, then arts festivals can

claim to have contributed to those benefits (Hughes, 2012:157).

Several studies have identified reasons for the establishment of arts festivals, as can be seen in

Table 2.8.

Table 2.8: General contributions of the arts festival to the arts

GENERAL CONTRIBUTIONS OF THE ARTS FESTIVAL TO THE ARTS REFERENCES

Making it more accessible for them (Hughes, 2012:90; Finkel,

2009:14, 18)

To promote the arts (Finkel, 2009:4)

Provides exposure to the arts (Finkel, 2009:11)

Instrumental justification for the arts (Finkel, 2009:12)

Offering various genres of arts (Finkel, 2009:5)

To enjoy the arts (Finkel, 2009:4)

Provide interaction with the arts (Finkel, 2009:4)

Market the arts (Finkel, 2009:12)

Presents professional arts of a standard and scale which is not possible to sustain

all year round

(Finkel, 2009:4)

Provides high standards of quality and artistic experience (Finkel, 2009:16,17)

Provides educational programs at schools to encourage young people to become

involved with the arts

(Finkel, 2009:13)

Has encourage recognition to the nation‟s cultural life (Rolfe, 1992:81)

To enable arts attendance by local residents in small towns or rural areas where

there are few other opportunities

(Hughes, 2012:90)

To provide opportunities, that would otherwise not be available, for locals to attend

arts events

(Hughes, 2012:90)

To encourage community coherence through participation (Hughes, 2012:90)

To encourage participation in the arts (Page & Connell, 2012:393)

Contributes to production and consumption of culture (Waterman, 1998:55)


57

Successful festivals operate from a clear purpose or mission (Korza & Magie, 1989; Quinn,

2005). The arts festival‟s mission may include the following (Korza & Magie, 1989:3):

to celebrate the arts;

to entertain and have fun;

to raise money;

to provide a professional opportunity for artists;

to create a forum for artistic experimentation;

to foster pride and commitment in the community; and

to develop audiences for the arts.

What is meant by the term, “contribution”? Somewhat simplistically, contribution can be thought

of as the act of contributing (Farlex, 2012). The arts festival is believed to act as a contributor to

the arts and its forms. Previous studies done by Dunjic (2011), Quinn (2006), Cina & Botha

(2003), Mitchell & Wall (1989) and by Bolin & Dunstan (1985) focused on the festival‟s

contribution to the arts. The arts are believed to enrich people‟s lives, while live performances

have merits of their own such as social interaction and community, escapism, a sense of

contentment, fulfilment, happiness, satisfaction, etc. Further, the arts are believed to contribute

to the regeneration of cities. Arts festivals can claim some credit for these and many other

positive aspects of the arts through ensuring the survival of the arts. More specifically, these

attributes of arts would not be experienced by some people if it was not for the arts festival

(Hughes, 2012:157).

Hughes (2012:153) constructed a figure where he explained the impact of tourism on the arts.

Some arts activities, including many festivals, were established because of tourism (or have

become dependent on tourism) and an ability to experience the arts would otherwise not be

available (Hughes, 2012:155). Arts festivals are part of tourism, thus, making the figure relevant

to arts festivals as well (see Figure 2.3).

58

Figure 2.3: Tourism: its effect on the arts

Source: Adapted from Hughes (2012:153)

Arts festivals play a great part in keeping the arts alive by contributing in different ways to the

divisions of the arts the festival presents. Previous studies done by Heilbrun & Gray (2001),

Jackson & O‟Sullivan (2002:327), Nieman (2003), Holden (2004), Visser (2005:160-162), Quinn

(2006:301), Anheier & Isar (2008:3), Winner & Hetland (2008), Finkel (2009:13), Schwarz & Tait

(2007), Richardt & Wilson (2004), Van Der Vyver & Du Plooy-Cilliers (2006:192), Hutter &

Throsby (2008) and by Hughes (2012), identified numerous contributions of an arts festival to

the arts. In this literature review, the author compiled the most significant contributions that

might play a role in the contribution of an arts festival to the arts, emphasising specific

contribution terms and examining each of them separately. These contributions include (1) the

emotional contribution; (2) the educational contribution; (3) the economic contribution; (4) the

marketing contribution; (5) the quality contribution; and (6) the growth and developmental

contribution of the arts festival to the arts and art forms the festival presents (see Figure 2.3).

Arts

Tourism

(Arts festival as part of tourism)

Extra revenue

Extra employment

Other work can be undertaken

Art forms saved

Residents benefit by having local theatres

Raises standards

Develops audiences

Increase sponsorships and support

Contributes to benefits the artsbring

59

Figure 2.4: Authors own compilation of the arts festival’s contribution to the arts.

Sources: Adapted from studies done by Heilbrun & Gray (2001), Jackson & O’Sullivan (2002:327), Nieman

(2003), Holden (2004), Richardt and Wilson (2004), Visser (2005:160-162), Van Der Vyver & Du Plooy-Cilliers

(2006:192), Quinn (2006:301), Anheier & Isar (2008:3), Winner and Hetland (2008), Hutter and Throsby (2008)

and Finkel (2009:13) and by Hughes (2012).

The identified contributions of an arts festival to the different art forms (as shown in Figure 2.4)

will be discussed in the following sections.

2.2.4.1 Educational contribution

The first contribution of an arts festival is its educational contribution (Korza & Magie, 1989:3;

Heilbrun & Gray, 2001:229; Faulkner et al., 2001:138; Prentice & Andersen, 2003:25; Quinn,

2006:302; Anheier & Isar, 2008:8; Winner & Hetland, 2008; Allen et al., 2012:50; Finkel,

2009:13; Dunjic, 2011:20; Page & Connell, 2012:352). The term education usually consists of

synonyms such as mentoring, teaching and coaching. The interpretation of education can

perhaps be described as a learning process where knowledge or skill is obtained or developed

(Farlex, 2012) (see Table 2.9).

Contribution of an arts


Emotional contribution

Educational contribution

Marketing contribution

Quality contribution

Growth and development contribution


60

Table 2.9: Definitions of interpretation of education

COMPONENT DEFINITIONS REFERENCES

Education;

Mentor; Teach

“The knowledge or skill obtained or developed by a learning process” (Farlex, 2012)

“A program of instruction of a specified kind or level” (Farlex, 2012)

“The field of study that is concerned with the pedagogy of teaching and

learning”

(Farlex, 2012)

“An instructive or enlightening experience” (Farlex, 2012)


Given this, the arts festival can be seen to have an educational contribution towards the arts.

According to Heilbrun & Gray (2001:229), a festival is set out to teach new or traditional art

forms and techniques (Phillips & Steiner, 1999:127), encouraging artistic innovation by the

learner (in this case, the artist, community and/or visitor attending the festival). Education in the

arts thus focuses on creation and facilitating networks. The arts festival provides, then, a type of

platform for artists where the artist can generate own knowledge from existing knowledge

(Anheier & Isar, 2008:8), and where information regarding the arts is exchanged among the

particular parties (Phillips & Steiner, 1999:127).

To revive artefacts through teaching, steps can be taken to ensure that the skill will not die with

the artist (Phillips & Steiner, 1999:26). This leads to the revival of the arts (Phillips & Steiner,

1999:127; Heilbrun & Gray, 2001:229; Quinn, 2006:302; Anheier & Isar, 2008:8; Winner &

Hetland, 2008; Finkel, 2009:13). The people who learn to make art during a particular time,

such as at an arts festival, can become prominent artists (Phillips & Steiner, 1999:25), thus

further ensuring the continuance of the arts. Along with attempts to try to attract broader

audiences, most festivals have educational programs at schools to encourage young people to

become involved with the arts (Finkel, 2009:13).

Questions formulated for the questionnaire were based on literature regarding the perceived

contribution the festival makes to the arts through education are shown in Table 2.10.

61

Table 2.10: Questions relating to the educational contribution

QUESTIONS REFERENCES

1. The festival contributes to the development of actors, dancers and singers‟

skills.

(Page & Connell, 2012:352;

Faulkner et al., 2001:138)

2. The festival contributes to the development of the skills of painters,

sculptors, photographers and writers.



3. The festival improves people‟s knowledge about the performing arts. (Finkel, 2009:4,14,18,19; Page

& Connell, 2012:352; Korza &

Magie, 1989:3)

4. The festival improves people‟s knowledge of the visual arts. (Finkel, 2009:4,14,18,19; Page

& Connell, 2012:352)

5. The festival promotes research within the arts. (Quinn, 2005:931; Prentice &

Andersen, 2003:25)


2.2.4.2 Emotional contribution

The second contribution of an arts festival is its emotional contribution (Waterman, 1989:55;

Heilbrun & Gray, 2001:228; Axelsen, 2006; Quinn, 2006:302; Schwarz & Tait, 2007; Finkel,

2009:13; Hughes, 2012:13). The term emotion is usually associated with the inner-self, where it

has an influence on motivation and inspiration (Bradley & Lang, 2007:602). According to Table

2.11, emotion can be defined as the stimulation of the mind, or as an agency (such as a work of

art) that prompts action or invention (Farlex, 2012; Bradley & Lang, 2007:602).

Table 2.11: Definitions of interpretation of emotion


Emotional;

Inspiration;

Motivation

“Caused, determined, or actuated by emotion rather than reason” (Farlex, 2012)

“Stimulation of the mind or emotions to a high level of feeling or activity” (Farlex, 2012)

“The condition of being so stimulated” (Farlex, 2012)

“An agency, such as a person or work of art, which moves the intellect or

emotions or prompts action or invention”

(Farlex, 2012)

“Something, such as a sudden creative act or idea, which is inspired” (Farlex, 2012)

“The quality of inspiring or exalting: a painting full of inspiration” (Farlex, 2012)

“Divine guidance or influence exerted directly on the mind and soul of

humankind”

(Farlex, 2012)

“Desire to do; interest or drive; the act of drawning in” (Farlex, 2012)

“The stimuli that moves people” (Bradley & Lang,

2007:602)


62

By definition, the emotional contribution thus refers to “those effects that go beyond the

artefacts and the enactment of the event or performance itself and have a continuing influence

upon, and directly touch, people's lives” (Reeves, 2002:29). It can be argued that festivals are

thus extensions of health promotion activities, as they create connections between individuals

and the networks, norms, and trust that arise from those connections (Schwarz & Tait, 2007), so

broadening their social networks and relationships (Phillips & Steiner, 1999; Heilbrun & Gray,

2001:228; Quinn, 2006:302; Schwarz &Tait, 2007).

The reasons that tourists choose to attend the arts may range from a desire to see something

beautiful, a wish to be entertained or inspired, and a feeling that the arts can enrich their lives

(Keaney, 2008:107). The emotional contribution can so be seen as an artistic activity,

stimulating creativity and enhancing innovation (Reeves, 2002:30). The involvement in

performing arts comes from witnessing at first-hand the work of art and through personal

experience of performing arts they produce (Reeves, 2002:37), thus inspiring the individual to

be part of the arts world (Reeves, 2002:37).

Questions formulated for the questionnaire based on literature concerning the perceived

emotional contribution the festival makes to the arts are shown in Table 2.12.

Table 2.12: Questions relating to the emotional contribution


1. The festival inspires people to become actors, dancers and singers. (Finkel, 2009:13;

Hughes, 2012:13)

2. The festival inspires people to become painters, sculptures, photographers and

writers

(Finkel, 2009:13)

3. The festival encourages people to attend more theatre, music and dance

productions

(Finkel, 2009:13)

4. The festival motivates people to visit more art exhibition, art markets, craft stalls

or book exhibitions

(Finkel, 2009:13;

Axelsen, 2006)

5. The festival influences people to join art associations (for example. dance clubs

and theatre groups)

(Waterman, 1989:55)

6. The festival influence people to join art associations (for example, book clubs,

photography clubs)

(Waterman, 1989:55)


2.2.4.3 Economic contribution

The third contribution, the economic aspect of an arts festival (3), has been previously given

adequate attention (Korza & Magie, 1989:3; Mitchell & Wall, 1989:39; Rolfe, 1992; Heilbrun &

63

Gray, 2001:227; Kitshoff, 2004:238; Saayman & Saayman, 2004; Saayman & Saayman, 2006;

Quinn, 2006:301; Allen et al., 2012:61; Anheier & Isar, 2008:3; Snowball, 2010; Finkel, 2009:12;

Goeldner & Ritchie, 2009:81; Jonker, Saayman & De Klerk, 2009:383). Terms such as

willingness to pay, sales, image enhancement, sustainability, market share, economic impact

and competitive advantage all come to mind when arts festivals are evaluated in terms of their

economic contribution (Phillips & Steiner, 1999; Heilbrun & Gray, 2001:227; Quinn, 2006:301;

Anheier & Isar, 2008:3) (Table 2.13).

Table 2.13: Definitions of interpretation of economics


Economic;

Revenue

“Of, or relating to, the production, development, and management of

material wealth, as of a country, household, or business enterprise”

(Farlex, 2012)

“Of, or relating to, the science of economics: new economic theories

regarding the effects of deficit spending”

(Farlex, 2012)

“Financially rewarding; economical: It was no longer economic to keep

the manufacturing facilities open”

(Farlex, 2012)

“Of, or relating to, the practical necessities of life; material: wrote the

book primarily for economic reasons”

(Farlex, 2012)

“Of, or relating to, an economy: a period of sustained economic growth” (Farlex, 2012)

“Efficient; economical” (Farlex, 2012)

“All the income produced by a particular source” (Farlex, 2012)


The arts festival has a definite economic contribution, in a sense that it can provide other

sources of audiences and additional revenues for the arts (Heilbrun & Gray, 2001:324). It can

therefore support artistic life and activity and further contribute to the existence of the arts

(Hughes, 2012:153; Heilbrun & Gray, 2001:324). In the modern era, the making of art has

occupied a special position among human activities (Heilbrun & Gray, 2001:3). Art sells for high

prices, making it possible for artists to support themselves with their work instead of earning

only a supplement to another full-time job, and so making the arts festival an ideal income

opportunity for the artists (Phillips & Steiner, 1999:26). The arts festival can generate extra

revenue and may result in higher ticket prices paid by the attendees and the ensuing greater

spend by tourists on souvenirs and merchandise (Hughes, 2012:153). The economic

contribution may make the difference between survival and extinction of the arts and artists.

Arts tourism can therefore make a difference in that, in some cases, the arts are able to

continue when they otherwise might not have done so (Hughes, 2012:154).

64

Extra employment may also result (Hughes, 2012:154; Allen et al., 2012:61). There is a greater

number of jobs for some companies survive that otherwise would not do so. The employment

effects are therefore twofold (Huges, 2012:154):

1) increase in number of people employed; and

2) same number of people employed but opportunity for individuals to obtain longer

periods of employment and to be employed throughout the year.

The extra jobs that arts festival can create may attract people to the profession. This can mean

that people may stay in the arts profession. By providing further employment opportunities and

continuity of employment, many who would otherwise have sought work elsewhere may be able

to survive and continue (Hughes, 2012:154). Heilbrun & Gray (2001:324) also state that artists

are able to command a wage based on the fact that some audiences exist for their work. For

example, “if no one ever wanted to attend a dance performance and no tickets were sold, or if

no one ever purchased a painting, there would be no need for dancers or painters and no need

to entice anyone to enter the profession (to become a dancer or painter). Heilbrun & Gray

(2001:324) further state that if people are willing and able to attend dance productions or

acquire paintings, there will be a demand for dancers and painters, and that this will tempt some

persons to enter the profession.

The arts festival may bring additional benefits. The ability to attract tourists may make the arts

more attractive to sponsors as tourism gives a wider geographical spread to their message.

Sponsors may also be attracted by high-spend tourists and by the prestige of being associated

with high quality productions, performers and events that may be evident in the case of some

arts festivals, in particular. Festivals may result in considerable leverage of private sector

funding for the arts (Hughes, 2012:156). Arts festivals may also provide wider support.

Hoteliers, bar and restaurant owners all benefit from tourism and therefore look favourably on

the arts. They may offer financial support to the arts, they may themselves sponsor productions

or may lobby on behalf of the productions and artists (Hughes, 2012:156).

Questions formulated for the questionnaire based on literature concerning the perceived

economical contribution the festival makes to the arts are shown in Table 2.14.

65

Table 2.14: Questions relating to the economical contribution


1. The festival contributes to an increase in ticket sales of dance-, theatre- and

music productions

(Finkel, 2009:12)

2. Because of the festival, there are more people who invest in visual art. (Quinn, 2006)

3. The festival contributes to more employment opportunities for individuals

within the theatre-, dance- and music industries.

(Rolfe, 1992; Mitchell &

Wall, 1989; Goeldner &

Ritchie, 2009:81)

4. The festival creates more employment opportunities for visual artists (painters,

sculptors, photographers, writers).

(Rolfe, 1992; Mitchell &

Wall, 1989; Goeldner &

Ritchie, 2009:81)

5. The festival contributes to a more stable income for individuals within the

theatre-, dance- and music industries.

(Rolfe, 1992: Kitshoff,

2004:238)

6. The festival contributes to a more stable income for painters, sculptors,

photographers and writers

(Rolfe, 1992)

7. The festival contributes to an increase in CD and DVD sales of theatre pieces,

dance and music

(Jonker et al., 2009:383)

8. The festival encourages people to purchase more paintings, sculptures, photo

art


9. The festival encourages people to purchase more books (Korza & Magie, 1989:3)


2.2.4.4 Quality contribution

The quality contribution (4) pinpoints how festivals are in danger of losing their magic when they

grow too much and too rapidly (Korza & Magie, 1989:12,36; Reeves, 2002:37; Quinn,

2006:291,300; Allen et al., 2008:180; Finkel, 2009:20; Liburd & Derkzen, 2009:137). Quality is

defined as the degree or grade of excellence (Farlex, 2012) (Table 2.15). The festival‟s role in

quality contribution focuses on service quality, accessibility, festival variety, food and beverage,

information and marketing, performing, participatory and visual arts, and the image of the

festival (Getz, 1997:11).

Table 2.15: Definitions of interpretation of quality


Quality;

Standards

“An essential and distinguishing attribute of something or someone” (Farlex, 2012)

“An inherent or distinguishing characteristic; a property” (Farlex, 2012)

“A personal trait” (Farlex, 2012)

“Degree or grade of excellence” (Farlex, 2012)

“Distinguishing characteristic, property, or attribute” (Farlex, 2012)

66

“The basic character or nature of something” (Farlex, 2012)

“A trait or feature of personality” (Farlex, 2012)

“Serving as or conforming to a standard of measurement or value” (Farlex, 2012)

“An object that under specified conditions defines, represents, or records

the magnitude of a unit”

(Farlex, 2012)

“Degree or standard of excellence” (Farlex, 2012)


According to Cole & Illum (2006:161) quality takes on two dimensions. The first dimention is the

so-called performance dimension. The performance dimention includes areas such as the rating

of service attributes, satisfaction at the attributes level and the quality of the attributes of a

service which are under the control of a supplier. The performance quality leads to experience

quality, which can also be referred to as the second dimension of quality. Experience quality is

based on the satisfaction at the transaction level, meaning that experience must be the same or

greater than what is initially expected before experiencing it.

It is important to establish standards of quality. In the case of the arts, “the arts are a discipline

having a history of development, levels of training and experience”. These aspects include

technical proficiency, artistic concept, form and content (Korza & Magie, 1989:12). Arts festivals

have an effect on standards. In order to attract tourist (long-distance audiences) the production

may need to be particularly „professional‟ in content and particularly spectacular and/ or

„unique‟. Visitors, as outsiders, may “bring a new perspective” to the arts and thus “can

challenge and enrich everyone‟s perspective” (Hughes, 2012:156). The term quality fosters

individuality. “If we all carve the same things, or just traditional objects, then nobody‟s objects

would stand out; since all men carve, there is competition to be unique” (Phillips & Steiner,

1999:62). This is also true for the performing arts, enhancing the quality in performances and

thus the artists as well.

It is difficult to retain artistic autonomy and to maintain quality when the supply for the arts are

becomming overwhelming (Phillips & Steiner, 1999). In order to prevent this, a festival

organisation must „focus on its initial aims‟, remembering whom it wants to reach and what it

wants to achieve with the festival (Phillips & Steiner, 1999; Quinn, 2006:300). The arts (such as

souvenirs, crafts and sculptures) should be portable and understandable and it helps if they are

useful (Phillips & Steiner, 1999:237). The attendee must be inspired, thus leaving thinking

positively towards the production or performance (Reeves, 2002:37).

In a previous study done by Pitts (2009:147), it was clear that there was a strong connection

between their reason for visit and the quality performance/ product they received. High quality

productions may attract visitors to the festival repeatedly, leading to increased annual visitor

67

revenue and re-investment in the arts festival (Quinn, 2006:302). This gives a clear indication

that the arts festivals‟ quality and economic contribution go hand in hand.

Questions formulated for the questionnaire based on literature regarding the perceived

contribution the festival makes to the arts by means of quality are shown in Table 2.16.

Table 2.16: Questions relating to the quality contribution


1. The festival‟s selection requirements contribute to quality music-, dance-

and theatre productions

(Finkel, 2009:4,16,17,20; Korza

& Magie, 1989:12,36)

2. The festival creates a platform for the availability of quality paintings,

sculptures, photo art and books

(Finkel, 2009:4,16,17,20)

3. The artists at the festival create a quality experience of arts during the

festival.

(Liburd & Derkzen, 2009:137)

4. The festival improves the quality of artistic works (Quinn, 2006:291,300)


2.2.4.5 Marketing contribution

The fifth contribution entails the marketing contribution of an arts festival (Korza & Magie,

1989:3; Bonus & Ronte, 1997:112; Nieman, 2003; Kitshoff, 2004:238; Richardt & Wilson, 2004;

Visser, 2005:162; Van Der Vyver & Du Plooy-Cilliers, 2006:192; Quinn, 2006:294; Anheier &

Isar, 2008:264; Hutter & Throsby, 2008; Page & Connell, 2009:393; Jonker et al., 2009:383;

Koopman, 2012; Hughes, 2012:154). Marketing is associated with the terms awareness,

exposure and promotion (Strydom, 2011) (Table 2.17), where it is defined as the act or process

of buying and selling in the market (Farlex, 2012).

Table 2.17: Definitions of interpretation of marketing


Marketing;

Awareness;

Exposure

”The act or process of buying and selling in a market” (Farlex, 2012)

“The commercial functions involved in transferring goods from producer to

consumer”

(Farlex, 2012)

“The provision of goods or services to meet customer or consumer needs” (Farlex, 2012)

“Having knowledge or cognizance” (Farlex, 2012)

“Aware implies knowledge gained through one's own perceptions or by

means of information”

(Farlex, 2012)


68

The marketing contribution is of benefit to the arts. The arts benefit through the awareness,

promotion, exposure and comprehension that the arts festival provides (Phillips & Steiner,

1999:26). This is where networks can be built and promotional value of the arts to the sponsors

can be identified (Phillips & Steiner, 1999; Nieman, 2003; Richardt & Wilson, 2004; Visser,

2005:162; Van Der Vyver & Du Plooy-Cilliers, 2006:192; Hutter & Throsby, 2008; Anheier &

Isar, 2008:3). Furthermore, the marketing contribution can create local demand for the arts and

related services by raising the profile of the arts (Quinn, 2006:302), and making the attendees

aware of new and upcoming artists in addition to fostering appreciation for well established

artists and making the arts (for example, literature content) identifiable to a broad population

(Phillips & Steiner, 1999:90). Tourism may also make some productions viable or perhaps more

profitable because an extended run has become possible (Hughes, 2012:154).

In addition, festivals may be the only occasion when artists are seen or heard. The particular

rationale of some festivals may be to introduce music or plays that are not commonly heard or

seen or may appeal only to a limited local audience (Hughes, 2012). By placing them in a

festival concept (such as the annual Klein Karoo National Arts Festival) they might succeed in

appealing to an audience from further afield and so make their production more viable. Many of

the arts festivals (for example, the KKNK and Innibos Arts Festivals) have a philosophy of

introducing new artists and works (Hughes, 2002). Major artists may not be seen in small towns

or rural areas because they cannot generate the audiences. Holding festivals in such locations

may expand the potential audience (and local residents benefit). Festivals are therefore more

likely to raise greater awareness than an on-going arts or entertainment programme in a

theatre, arena or concert hall. The performer or performances thus come to the notice of a great

number of people coming from a more widespread area (Hughes, 2012).


contribution the festival makes to the arts by means of marketing are shown in Table 2.18.

Table 2.18: Questions relating to the marketing contribution


1. The festival promotes the image of performing arts (theatre, dance and

singing) in SA


Quinn, 2006:293; Korza &

Magie, 1989:3)

2. The festival promotes the image of the visual arts (paintings, sculptures,

photo art and books) in SA


Quinn, 2006:293)

3. The marketing of the festival makes people more aware of the productions in

the country in general

(Quinn, 2006:293,294;

Hughes, 2012:154)

4. The marketing of the festival makes people more aware of SA art works and (Jonker et al., 2009:383)

69

literature in general

5. The festival markets well-known as well as new artists within the performing

arts

(Kitshoff, 2004:238; Korza &

Magie, 1989:3; Anheier &

Isar, 2008:264)

6. The festival markets well-known as well as new artists within the visual arts (Kitshoff, 2004:238)

7. The festival establishes networking opportunities for performing artists (Bonus & Ronte, 1997:112)

8. The festival establishes networking opportunities for visual artists (Bonus & Ronte, 1997:112)


2.2.4.6 Growth and development contribution

The final contribution, the growth and development contribution (6), is where the arts festival

itself plays a great role in keeping the arts in general alive (Korza & Magie, 1989:3; Waterman,

1998:55; Heilbrun & Gray, 2001:228; Faulkner et al., 2001:138; Kitshoff, 2004:240; Visser,

2005:160; Quinn, 2006:302; Anheier & Isar, 2008:263; Saayman & Rossouw, 2011:611;

Koopman, 2012; Hughes, 2012:153). The term growth can be seen as the act of developing or

a state of being developed (Farlex, 2012). This also involves the process of growing, developing

to a higher or more complex form (Farlex, 2012) (Table 2.19).

Table 2.19: Definitions of interpretation growth and development


Growth;

Development

“The act of developing” (Farlex, 2012)

“The state of being developed” (Farlex, 2012)

“A significant event, occurrence or change” (Farlex, 2012)

“A group of dwellings built by the same contractor” (Farlex, 2012)

“Determination of the best techniques for applying a new device or

process to production of goods or services”

(Farlex, 2012)

“The organized activity of soliciting donations or grants; fundraising” (Farlex, 2012)

“The process of growing” (Farlex, 2012)

“Full development; maturity” (Farlex, 2012)

“Development from a lower or simpler to a higher or more complex form;

evolution”

(Farlex, 2012)

“An increase, as in size, number, value or strength; extension or

expansion”

(Farlex, 2012)


70

Survival of the arts may be particularly important where it is felt that a particular art form may

have been in danger of disappearing or that particular venues may be lost. Festivals may

therefore allow the continuance of productions and art forms. Limited interest may mean

productions are unviable but the plays may be considered to be so important that they should

be preserved (Hughes, 2012). The tradition of performance and knowledge of the plays are

preserved so that others may have the option of attendance at some later time (Hughes,

2012:155). The arts festival may be helpful in providing productions for theatre halls, as they

may be demolished or turned to new uses if they are not successful. With the demolishment of

theatre hall, less opportunity are offered for future generations to experience the arts (Hughes,

2012:155).

The production of arts for the tourist market is a reflection of cultural continuity and adaptation

(Phillips & Steiner, 1999:29). This may include creating and intensifying awareness and

appreciation of particular art forms, expanding venue infrastructures (and the enhancement

thereof – Quinn, 2006:306) and creating demand for new services and products (Quinn,

2006:291). In turn, this might lead to the strengthening of the capacity of arts. Through this, the

arts festival creates local demand for arts and related services, and can potentially act as a

catalyst for further creativity within the locale by prioritising development of local arts/ artists

(Quinn, 2006:302).

Tourist art is the development of art forms because of the interaction with other cultures (Phillips

& Steiner, 1999:29). The different kinds of objects that interested modern artists stimulate

different kinds of demand. The interactive process between producer and consumer intensifies,

resulting not only in greatly increased replications of objects but also in the production of many

innovative and hybrid art forms (Phillips & Steiner, 1999:9). Developmental potential of this

nature, however, can only be achieved through a sustained approach that emphasises long-

term over short-term thinking, and that maintains quality of artistic experience in the face of

increasing pressures to commercialise (Phillips & Steiner, 1999; Heilbrun & Gray, 2001; Quinn,

2006:291; Visser, 2005:160). Tourist art products that developed from traditional arts and

become export and import items in a cross-cultural exchange substantiate the continued

existence of both cultures (Phillips & Steiner, 1999:29). Indeed, the production and sale of art

works for the tourist market, can contribute to the preservation and revival of the traditional art

forms (Phillips & Steiner, 1999:29).

The growth and development contribution can have further benefits, in that they keep the arts

alive for future generations (Anheier & Isar, 2008:37). Because of the survival of the arts, local

residents benefit by being able to visit a theatre or hear a concert. They benefit by having the

opportunity to see productions that would not exist if reliant wholly on a local market (Hughes,

71

2012:155). Thus, the arts have an important role in creating our national identity and helping

people to appreciate beauty (Anheier & Isar, 2008:37).


contribution the festival makes to the arts by means of growth and development are shown in

Table 2.20.

Table 2.20: Questions relating to the growth and development contribution


1. Due to the festival, the number and variety of productions in SA have

increased

(Hughes, 2012:153; Van

Niekerk & Coetzee,

2011:350; Quinn, 2006:293;


2. Because of the festival, the number and variety of art works have increased (Korza & Magie, 1989:3)

3. The festival‟s existence has led to the development of other arts festivals in

SA

(Kitshoff, 2004:240; Quinn,

2006:293)

4. Because of the festival, there is a growth in the number of painters,

sculptors, photographers and writers that enter the market

(Heilbrun & Gray, 2001:228;

Quinn, 2006:302)

5. The festival contributes to an increase in the production of arts products (Saayman & Rossouw,

2011:611; Quinn, 2006:293)

6. Because of the festival, there are a growing number of actors, dancers and

singers that have entered the market

(Heilbrun & Gray, 2001:228;

Quinn, 2006:302)

7. Because of the festival, there is a growth in the number of paintings,

sculptures, photo art and literature

(Korza & Magie, 1989:3)

8. The festival‟s financial support contributes to an increase in productions (Faulkner et al., 2001:138)

9. The festival‟s financial contribution contributes to the growth in visual arts (Quinn, 2006:293; Faulkner

et al., 2001:138)

10. The festival develops infrastructure for theatre, dance and music productions (Waterman, 1998:55,

Faulkner et al., 2001:138;

Quinn, 2006:293; Hughes,

2012:94,171)

11. The festival develops infrastructure for the exhibition of visual art (Quinn, 2006:293; Korza &

Magie, 1989:3)


These six contributions can be described as the “missing links” when assessing the arts

festival‟s contribution in full to the arts and its forms (Holden, 2004). The arts festival should be

evaluated in terms of all these contributions to determine if the they can still be identified as an

contributor to the arts; its contribution to all forms of the arts it presents and the extent thereof.

72

2.2.4.7 Problems associated with the contribution of arts festivals to the arts

Despite the many benefits claimed from the arts-tourism relationship, there are a number of

problems that need to be recognised. Most of the problems relate to influences on the arts (see

Figure 2.5).

Figure 2.5: Some disadvantages of the influence of tourism on the arts

Source: Adopted from Hughes (2012:156)

In the less industrialised parts of the world, tourism is often accused of destroying local culture,

arts and traditions so that a society‟s identity is altered. Tourism may thus cause problems for

the arts (Hughes, 2012:162). These problems may also be attributed to the arts festival as

follows:

2.2.4.7.1 Vulnerability

Arts tourism can work against the arts. Hughes (2012:162) states that “any art that is dependent

on tourism will prosper only as long as the tourism flows occur, where an increase in tourism will

cause problems”. The arts festival is an easy means in presenting arts forms which are

sometimes not seen elsewhere. This can be a problem if the arts festival, for some reason, is

not hosted anymore.

Arts

Tourism

(Arts festival as part of tourism)

Vulnerable to fluctuation

Trivializes the arts

Arts regarded as an industry

Combined approach

73

2.2.4.7.2 Trivialisation

The process of attracting tourists may lead to pressure to produce „popular‟ artistic works. The

product may then become in some way commercialised. The requirements of a tourist market

may come in the way of artistic aspiration (Hughes, 2012:164). Some producers and performers

may then present productions that are „entertaining‟ and „light‟ rather than original and

meaningful (Hughes, 2012:164). Britton (1991) as cited by Hughes (2012:165) states that the

arts are becoming increasingly commodified and standardised. The role of the arts as attracting

tourists can be viewed as the process that encouraged commodification. The arts are made

„safe‟ and predictable through packaging and so they require limited consumer involvement.

Thus, the arts industry offers superficial sensation without appreciation or understanding. The

arts at the arts festivals are packaged and choices are limited (Hughes, 2012:165).

2.2.4.7.3 Arts as an industry

Those who are involved in creating the arts product are in an industry like any other. This has

the effect that the arts are seen as “an activity that has no extraordinary distinguishing

characteristics”. The arts are then only regarded as important for the income and employment

effects that are generated. In this way, the arts may lose significance if another sector with a

greater economic impact comes along (Hughes, 2012:166).

2.2.4.7.4 Irrelevance

Arts aimed at non-local audiences face the criticism of not meeting the needs of locals. Arts

festivals with a strong tourist input may be seen to lack local significance and they become open

to charges of irrelevance and, in some cases, elitism (Hughes, 2012:167).

2.2.4.7.5 Containing artistic freedom

Arts festivals present a constraint for artists. Through this, the arts festival contains the artist‟s

artistic freedom. For example, where writers are required to create plays for one or two actors

and directors are forced to improvise and compromise within stuffy school halls with inadequate

infrastructure (Kitshoff, 2004:238).

2.2.4.7.6 Combined approach

The escalating introduction of new festivals to the festival calendar has led to a surplus in the

festival market, which has a direct impact on the arts festival (Van Zyl & Strydom, 2007:121).

74

This statement supports the fact that arts festivals take on the „combined arts festival‟ approach

(Finkel, 2009:3). A combined arts festival (or multi-arts festival) provides something for everyone

(Korza & Magie, 1989:9). A combined approach is adopted, not only to provide quality arts

experiences, but also to serve the need for socialisation with a focus on beer tents, wine tasting

booths and relaxation points. This leads to the festival attendee enjoying not only the festivities,

but also the social celebrations and the arts on offer (Hauptfleisch, 2001:175; Cruywagen,

2002:190; Kitshoff, 2004; Hauptfleisch, 2004; Van der Vyver & Du Plooy-Cilliers, 2006:202;

Slabbert, Viviers, Oberholzer, Saayman & Saayman, 2011:11; Pretorius, 2012). However, the

combined approach may indeed lead to visitors attending the occasional festival show or

production, but the thousands of visitors might only go to the festival for the socialisation, opting

for the stalls, restaurants and pubs rather than the arts (Hauptfleisch, 2001:175; Cruywagen,

2002:190; Kitshoff, 2004; Hauptfleisch, 2004; Van der Vyver & Du Plooy-Cilliers, 2006:202;

Slabbert, Viviers, Oberholzer, Saayman & Saayman, 2011:11; Pretorius, 2012). It is thus clear

that not all visitors visit arts festivals for artistic fulfilment. The combined arts festival approach

can be seen to have shifted the festival from its classical arts focus to encompassing more

popular art forms and audiences from broader backgrounds, arguing that arts festivals are

created to concentrate on less artistic, and more commercial purposes (Finkel, 2009:4). Arts

festivals must thus, re-determine their purpose and direction – something that now seems to

have been lost (Quinn, 2005:999).

2.3 CONCLUSION

The aim of this chapter was to examine the arts festival and its role in contributing to the arts. It

showed that arts festivals, in this context, can be defined as the place that displays some forms

of the arts for the visitors to enjoy; to learn from; to participate in; to be stimulated; to be

exposed to; and so on.

The arts were first defined by exploring its relationship with culture, before placing it in context,

identifying the characteristics of the arts and arts-related definitions. A perspective of the

relationship between arts and tourism were given. It was shown that the arts-tourism

relationship can be seen through the arts festival, where the arts can be seen as a means of

encouraging tourism, and tourists, creating an audience for the arts, in the perseverance and

development of the arts forms that the arts festival holds (Hughes, 2012:125).

Festivals were seen to have a privileged position in providing the means for everyone to

experience the arts, and that its greatest value was to be different, innovative and productive.

They open doors to new artistic forms, new performers, new audiences, unusual venues,

unknown cultures, new points of view and new approaches to the arts. The arts festival can be

75

of advantage to the arts, as it is perceived to contribute to them, in the sense that it provides a

platform for the education, emotional inspiration, economical benefit, quality experiences,

marketing and growth and development of the arts, keeping them alive and preserving them for

future generations to enjoy. These arts festival contributions can be specified by identifying the

specific benefits that the festival holds for the arts. It is important, however, not to overlook the

possibly negative contributions that the arts festival can cause to the arts. Identified problems

need to be effectively addressed in order that festivals may fully contribute beneficially to the

arts.

In conclusion, Table 2.21 outlines the questionnaire that was used in the survey to determine

whether the arts festival is perceived to contribute to the arts by means of these six identified

contributions, namely the (1) educational contribution, the (2) emotional contribution, the (3)

economic contribution, the (4) quality contribution, the (5) marketing contribution and the (6)

growth and development contribution. The questionnaire was based on literature as discussed

in this chapter.

76

Table 2.21: Summary of the contributions of an arts festival to the arts, as used in the questionnaire

IDENTIFIED CONTRIBUTIONS OF THE ARTS FESTIVAL TO THE TYPES OF ARTS IT PRESENTS, AS USED IN THE QUESTIONNAIRE

CONTRIBUTIONS NO PERFORMING ARTS REFERENCES NO VISUAL ARTS REFERENCES

Emotional

(Quinn, 2006;

Waterman,

1998:55)

a The arts festival inspires people

to become actors, dancers and

singers

(Hughes, 2012:13; Finkel,

2009:13)

x The arts festival inspires people

to become painters, sculptures,


(Finkel, 2009:13)

The arts festival inspires people to

become actors


2009:13)


become painters

(Finkel, 2009:13)


become dancers


2009:13)


become sculptures

(Finkel, 2009:13)


become singers


2009:13)


become photographers

(Finkel, 2009:13)


become writers

(Finkel, 2009:13)

b The arts festival encourages

people to attend more theatre,

music and dance productions

(Finkel, 2009:13) y The arts festival motivates people

to visit art exhibition, art markets,

craft stalls and book exhibitions

(Finkel, 2009:13)

The arts festival encourages

people to attend more theatre

productions

(Finkel, 2009:13) The arts festival motivates people to

visit more art exhibitions

(Finkel, 2009:13; Axelsen,

2006)


people to attend more music

productions


visit more art markets

(Finkel, 2009:13)


people to attend more dance


visit more craft stalls

(Finkel, 2009:13)

77

productions

The arts festival motivates people to

visit more book exhibitions

(Finkel, 2009:13)

c The arts festival’s influences

people to join art associations

(Waterman, 1998:55) z The arts festival influence people

to join art associations

(Waterman, 1998:55)

The arts festival influence people

to join arts associations (for

example, theatre groups)

(Waterman, 1998:55) The arts festival influence people to

join art associations (for example,

book clubs)

(Waterman, 1998:55)

The arts festival influence people


example, dance clubs)

(Waterman, 1998:55) The arts festival influence people to

join art associations (for example,

photography clubs)

(Waterman, 1998:55)


Economic

(Page & Connell,

2012:393; Korza &

Magie, 1989:4)

d The arts festival contributes to

an increase in ticket sales of

dance-, theatre- and music

productions

(Finkel, 2009:12) aa Because of the arts festival, there

are more people who invest in

visual art

(Quinn, 2006)

The arts festival contributes to an

increase in ticket sales of dance

productions

(Finkel, 2009:12) bb The arts festival creates more

employment opportunities for

visual artists (painters, sculptors,

photographers, writers)

(Goeldner & Ritchie, 2009:81;

Rolfe, 1992; Mitchell & Wall,

1989:39)


increase in ticket sales of theatre

productions

(Finkel, 2009:12) The arts festival creates more

employment opportunities for visual

artists (for example, painters)



1989:39)


increase in ticket sales of music

productions

(Finkel, 2009:12) The arts festival creates more


artists (for example, sculptors)



1989:39)

e The arts festival contributes to

more employment opportunities


2009:81; Rolfe, 1992;

The arts festival creates more




78

for individuals within the

theatre-, dance- and music

industries

Mitchell & Wall, 1989:39) artists (for example, photographers) 1989:39)

The arts festival contributes to


for individuals within the theatre

industries


2009:81; Rolfe, 1992;

Mitchell & Wall, 1989:39)

The arts festival creates more


artists (for example, writers)



1989:39)



for individuals within the dance

industries


2009:81; Rolfe, 1992;


cc The arts festival contributes to a

more stable income for painters,

sculptors, photographers, writers

(Rolfe, 1992)



for individuals within the music

industries


2009:81; Rolfe, 1992;


The arts festival contributes to a

more stable income for painters

(Rolfe, 1992)

f The arts festival contributes to

a more stable income for

dancers, singers and actors

(Kitshoff, 2004:238; Rolfe,

1992)


more stable income for sculptors

(Rolfe, 1992)


more stable income for individuals

within the theatre industries


1992)


more stable income for

photographers

(Rolfe, 1992)



within the dance industries


1992)


more stable income for writers

(Rolfe, 1992)



within the music industries


1992)

dd The arts festival encourages

people to purchase more

paintings, sculptures, photo art


g The arts festival contributes to

an increase in CD and DVD

sales of theatre pieces, dance

(Jonker et al., 2009:383) The arts festival encourages people

to purchase more paintings


79

and music


increase in theatre pieces CD /

DVD sales


to purchase more sculptures



increase in dance CD / DVD sales


to purchase more photo art



increase in music CD / DVD sales

(Jonker et al., 2009:383) ee The arts festival encourages

people to purchase more books



Quality h The arts festival’s selection

requirements contribute to

quality music-, dance- and

theatre productions

(Finkel, 2009:4,16,17,20;

Korza & Magie, 1989:12,36)

ff The arts festival creates a

platform for the availability of

quality paintings, sculptures,

photo art and books

(Finkel, 2009:4,16,20)

The arts festival‟s selection

requirements contribute to quality

music productions

(Finkel, 2009:4,16,17,20;

Korza & Magie, 1989:12,36)

The arts festival creates a platform

for the availability of quality

paintings

(Finkel, 2009:4,16,20)



dance productions

(Finkel, 2009:4,16,17,20;

Korza & Magie, 1989:12,36)



sculptures

(Finkel, 2009:4,16,20)



theatre productions

(Finkel, 2009:4,16,17,20;

Korza & Magie, 1989:12,36)


for the availability of quality photo

art

(Finkel, 2009:4,16,17)


for the availability of quality books

(Finkel, 2009:4,16,20)

i The singers/actors/dancers at

the arts festival create a quality

experience of performing arts

during the festival

(Liburd & Derkzen,

2009:137)

gg Painters, sculptors and writers at

the arts festival create a quality

experience of visual arts during

the festival


80

The singers at the arts festival

create a quality experience

(Liburd & Derkzen,

2009:137)

Painters at the arts festival create a

quality experience of visual arts


The actors at the arts festival

create a quality experience

(Liburd & Derkzen,

2009:137)

Sculptors at the arts festival create

a quality experience of visual arts

during the festival


The dancers at the arts festival

create a quality experience of

performing arts during the festival

(Liburd & Derkzen,

2009:137)

Writers at the arts festival create a

quality experience of visual arts

during the festival


j The arts festival improves the

quality of actors, singers and

dancers

(Quinn, 2006:291,300) hh The arts festival promotes the

quality of painters, sculptors,


(Quinn, 2006:291,300)

The arts festival improves the

quality of actors

(Quinn, 2006:291,300) The arts festival promotes the

quality of painters

(Quinn, 2006:291,300)


quality of singers


quality of sculptors

(Quinn, 2006:291,300)


quality of dancers


quality of photographers

(Quinn, 2006:291,300)

The arts festival promotes the

quality of writers

(Quinn, 2006:291,300)

CONTRIBUTIONS

NO PERFORMING ARTS REFERENCES NO VISUAL ARTS REFERENCES

Education

(Rolfe, 1992; Page

& Connell,

2012:352; Korza

&Magie, 1989:3)

k The arts festival contributes to

the development of actors,

dancers and singers’ skills



ii The arts festival contributes to

skill development of painters,

sculptors, photographers, writers



The arts festival contributes to the

development of actors‟ skills



The arts festival contributes to skill

development of painters




development of dancers‟ skills



The arts festival contributes to skill

development of sculptors



The arts festival contributes to the (Page & Connell, 2012:352; The arts festival contributes to skill (Page & Connell, 2012:352;

81

development of singers‟ skills Faulkner et al., 2001:138) development of photographers Faulkner et al., 2001:138)


development of the skills of writers



l The arts festival improves

knowledge about performing

arts


Finkel, 2009:4,14,18,19;

Korza & Magie, 1989:3)

jj The arts festival improves

knowledge about the visual arts


Finkel, 2009:4,18,19)

m The arts festival promotes

research within performing arts

(Quinn, 2005:931; Prentice &

Andersen, 2003:25)

kk The arts festival promotes

research within visual arts

(Quinn, 2005:931; Prentice &

Andersen, 2003:25)


Marketing

(Korza & Magie,

1989:3)

n The arts festival promotes the

image of performing arts

(theatre, dance and singing) in

SA



Magie, 1989:3)

ll The arts festival promotes the

image of the visual arts

(paintings, sculptures, photo art

and books) in SA


Quinn, 2006:293)


image of performing arts (for

example, theatre) in SA



Magie, 1989:3)


image of the visual arts in SA


Quinn, 2006:293)



example, dance) in SA



Magie, 1989:3)


image of sculptures in SA


Quinn, 2006:293)



example, singing) in SA



Magie, 1989:3)


image of photo art in SA


Quinn, 2006:293)


image of books in SA


Quinn, 2006:293)

o The marketing of the arts

festival makes people more

aware of the productions

(Hughes, 2012:154; Quinn,

2006:294)

mm The marketing of the arts festival

makes people more aware of SA

art works and literature

(Jonker et al., 2009:383;

Quinn, 2006:293)

82

The marketing of the arts festival

makes people more aware of SA art

works in general


The marketing of the arts festival

makes people more aware literature

in general


p The arts festival markets well-

known as well as new artists

within the performing arts


Magie, 1989:3)

nn The arts festival markets well-

known as well as new artists

within the visual arts

(Kitshoff, 2004:238)

The arts festival markets well-

known artists within the

performing arts


Magie, 1989:3)

The arts festival markets well-known

artists within the visual arts


KKNK markets new artists within

the performing arts

(Anheier & Isar, 2008:264) The arts festival markets new artists

within the visual arts


q The arts festival establishes

networking opportunities for

performing artists

(Bonus & Ronte, 1997:112) oo The arts festival establishes

networking opportunities for

visual artists

(Bonus & Ronte, 1997:112)


Growth and

development

(Rolfe, 1992;

Hauptfleisch,

2001:170)

r Due to the arts festival, the

number and variety of

productions in SA have

increased

(Hughes, 2012:153; Van

Niekerk & Coetzee,

2011:350; Faulkner et al.,

2001:138)

pp Because of the arts festival, the

number and variety of art works

have increased


Due to The arts festival, the

number of productions in SA has

increased

(Van Niekerk & Coetzee,

2011:350; Anheier & Isar,

2008:263)

Because of the arts festival, the

number of art works has increased


Due to The arts festival, the

variety of productions in SA has

increased

(Van Niekerk & Coetzee,

2011:350)

Because of the arts festival, the

variety of art works has increased


83

s The arts festival’s existence has

led to the development of other

arts festivals in SA

(Quinn, 2006:293; Kitshoff,

2004:240)

qq Because of the arts festival there

is a growth in painters, sculptors,


(Quinn, 2006:302; Heilbrun &

Gray, 2001:228)

t The arts festival contributes to

an increase in production of

production/music CDs / DVDs

(Saayman & Rossouw,

2011:611)

Because of the arts festival, there is

a growth in the number of painters


Gray, 2001:228)

u Because of the arts festival,

there are a growing number of

actors, dancers and singers

that have entered the market


Gray, 2001:228)


a growth in the number of sculptors


Gray, 2001:228)

Because of the arts festival, there

are a growing number of actors


Gray, 2001:228)


a growth in photographers


Gray, 2001:228)


are a growing number of dancers


Gray, 2001:228)


a growth in the number of writers


Gray, 2001:228)


are a growing number of singers


Gray, 2001:228)

rr Because of the arts festival, there

is a growth in paintings,

sculptures, photo art, literature

(Quinn, 2006:293; Korza &

Magie, 1989:3)

v The arts festival’s financial

support contributes to an

increase in productions

(Faulkner et al., 2001:138) Because of the arts festival, there is

a growth in the number of paintings


Magie, 1989:3)

w The arts festival develops

infrastructure for theatre, dance

and music productions

(Hughes, 2012:94,171;

Quinn, 2006:293; Faulkner,

et al., 2001:138; Waterman,

1998:55)


a growth in the number of

sculptures


Magie, 1989:3)

The arts festival develops

infrastructure for theatre

productions

(Hughes, 2012:94,171;

Quinn, 2006:293; Faulkner et

al., 2001:138; Waterman,

1998:55)


a growth in the number of photo art


Magie, 1989:3)

The arts festival develops (Hughes, 2012:94,171; Because of the arts festival, there is (Quinn, 2006:293; Korza &

84

infrastructure for dance

productions


al., 2001:138)

a growth in the number of literature Magie, 1989:3)


infrastructure for music

productions

(Hughes, 2012:94,171;


al., 2001:138; Waterman,

1998:55)

ss

The arts festival’s financial

contribution contributes to the

growth in visual arts

(Quinn, 2006:293; Faulkner et

al., 2001:138)

tt


infrastructure for the exhibition of

visual art


Magie, 1989:3)

Source: Author’s own Table, based on literature

85





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94

IS IT STILL ABOUT THE ARTS? THE PERCEIVED CONTRIBUTION OF KKNK TO THE

ARTS

“Came up to Oudtshoorn yesterday morning having never been to the KKNK before.

So what are the first impressions? Atmosphere – lekker.

The programme is heavy on music and light on theatre.”

Simon, 2011

CHAPTER 3 (ARTICLE 1)

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IS IT STILL ABOUT THE ARTS? THE PERCEIVED CONTRIBUTION OF KKNK TO THE

ARTS

ABSTRACT

Arts festivals have grown in both number and size, especially in South Africa. This growth could

be credited to the numerous benefits associated with arts festivals, including the enhancement

of the local community‟s well-being; the economic injections for local businesses; the creation of

career opportunities; the provision of quality performances; and particularly, their role in

contributing to the livelihood of the arts. Arts festivals in South Africa have incorporated the

latter in their mission statements. However, to date, the exact contribution of such a festival to

the various arts forms, and the extent thereof, is rather unclear. The aim of this study is to

determine the contribution of one of South Africa‟s largest and popular Afrikaans arts festival,

the Klein Karoo National Arts Festival, in terms of economic impact to the arts, from the festival

visitors‟ perception. In order to achieve this aim, a destination-based survey was administered

at KKNK in Oudtshoorn, Western Cape, during March/April 2012. A factor analysis was

subsequently conducted and five factors were revealed, being Visual arts enhancement,

Performing arts enhancement, Emotional inspiration, Visual arts involvement and Performing

arts exposure. ANOVA‟s and t-tests were done for further statistical analysis that determined

differences between socio-demographic characteristics of the visitors to KKNK. There were

some statistically significant differences between the perceptions of visitors based on their age.

Implications were structured for the festival to ensure further contribution to all forms of the arts

equally, as the festival is perceived to contribute to the arts.

Key words: Arts festivals, arts contribution, perception, KKNK, socio-demographics

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3.1 INTRODUCTION

It is generally accepted that festivals have grown in both number and popularity, and might now

be viewed as one of the fastest growing sectors in tourism (Getz, 1997:22; Goeldner, Richie &

McIntosh, 2000:234; Jackson & O‟ Sullivan, 2002:326; Lee, Lee & Wicks, 2004:61; Van Zyl,

2006:150; Getz, 2008:403). South Africa has a rich tradition of festivals, and provides a wide

variety of events, carnivals, street festivals and arts festivals throughout the year. Each of these

has its own unique feel, program and festival visitor (Tassiopoulos, 2005:4) due to the host

community and their cultural context (Derrett, 2009:120). According to Wood & Thomas

(2009:149), the majority of festivals are built around local produce, sport and/or art forms, which

may have led to the development of different types of festivals. The focus of this study is on arts

festivals. Festivals, especially arts festivals, are known to provide festival visitors with a unique

arts and entertainment experience (Getz, 2008:404; Finkel, 2009:16,17). One such an example

is the Klein Karoo National Arts Festival (hereafter referred to as the KKNK).

In terms of economic impact on the host regions, the KKNK is one of the biggest and popular

Afrikaans arts festivals in South Africa, generating millions in revenue each year. The festival is

held annually during the March/April school holidays in Oudtshoorn in the Western Cape

province, attracting an array of artists and thousands of visitors (N=100 000) from all over the

country, (Kruger, 2009:2; Kruger, Saayman & Ellis, 2010:80; KKNK, 2012). When it comes to

productions, KKNK is the leader in this field, having produced over 70% of all new Afrikaans

theatre in the country since 1995 (Kruger, Saayman & Ellis, 2010:80; KKNK, 2012). As

indicated above, it is evident that the KKNK provides a variety of activities and programmes,

focusing on its artistic vision and enhancing the arts through the medium of Afrikaans (Kruger,

2009:15; Huaptfleisch, 2001:173). The festival accommodates both the performing arts, which

includes drama, musical theatre, children‟s and street theatre, dance, and rock, and the visual

arts, such as paintings, sculptures and literature (Van Heerden, 2003:11,12; Van Zyl & Strydom

2007:127; KKNK, 2012; KKNK, 2011). There are also the traditional flea markets, beer tents,

food stalls, arts and crafts and amusement parks for visitors to enjoy (Kitshoff, 2004:238; KKNK,

2011).

Although the KKNK provides a quality arts experience, it also serves the need for socialisation.

Indeed, some festival visitors barely attend the festival shows and productions, only attending

the festival for its stalls, restaurants and pubs. Previous research on this topic is exampled by

Hauptfleisch (2001:175), Cruywagen (2002:190), Kitshoff (2004:239), Hauptfleisch (2004:296),

Van der Vyver and Du Plooy-Cilliers (2006:202), Slabbert, Viviers, Oberholzer, Saayman and

Saayman (2011:11) and Pretorius (2012). The KKNK may be viewed as a combined arts

festival, providing an opportunity both to participate in the arts and catering to the socialisation

97

aspect. The latter gives rise to the question of whether or not the arts are still an important

aspect of the festival (Finkel, 2009:4). To better understand what an arts festival comprises and

the contributions it makes requires a closer examination of the goal and mission statement of

the arts festival, in this case, of the KKNK.

The definition of an arts festival is evident in the goal and mission statement of the festival. The

KKNK was established to promote excellence in the arts; to promote access to the arts; and to

develop artists, festival attendees and entrepreneurs (KKNK, 2012; Kruger, Saayman & Ellis,

2010:80). This supports the statement that arts festivals were developed to highlight different art

forms and to contribute to the arts in general (Hutter & Throsby, 2008:17; Ivanovic, 2008:84;

Kruger & Petzer, 2008:113). Quinn (2005:999) believes that, because of this combined arts

festival approach, the arts festival has somewhat lost its purpose and direction. By determining

the contribution of an arts festival to the arts it presents, the arts festival may effectively pursue

one of its goals, that is, to contribute to the arts.

In previous research, little attention has been given to the evaluation of arts festivals concerning

their contribution to the arts (Getz, Andersson & Carlsen, 2010:34). This study seeks to

determine if the arts festival can still be regarded as an arts contributor from the festival visitors‟

perception, even though not all festival attendees visit the festival in search of artistic fulfilment

(Hauptfleisch, 2001:175). It also analyses whether these perceived contribution to the arts differ

regarding the socio-demographic characteristics of the visitors to KKNK. To achieve its goal, the

chapter (Article 1) is structured as follows: the literature review follows this introduction,

thereafter the method of research is discussed. This is followed by the findings and implications

of the research, after which certain conclusions, based on the results of the research, are made.


Festival tourism has been termed as an “emerging giant” (Getz & Frisby, 1988:22) and is

widespread around the globe (Goeldner & Ritchie, 2009:229). Quinn (2006:288) defines festival

tourism as being where people from outside the festival locality visit the festival. A festival can

be defined as “something exceptional, something out of the ordinary ... something that must

create a special atmosphere which stems from the quality of the art and the production” (Isar,

1976:131). Festivals are an important expression of human activity, contributing to our social

and cultural life (Allen, O‟Toole, Harris & McDonnell, 2012:15). The most common type of

festival is the arts festival, which can encompass mixed art forms and multiple venues (Allen, et

al., 2012:15). Tassiopoulos (2010:5), Inkei (2005:6), Mayerfield & Crompton (1995:41), Falassi

(1987:1), Quinn (2005:927) and Williams & Bowdin (2007:306) variously defined arts festivals

as being universal; the celebration of a theme or event, of human creative skill in areas such as

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poetry, painting and music. They believed that arts festivals may involve the celebration of an

individual artist; provide a showcase for local talent; display considerable diversity in the forms

as well as in the types of art that are featured; present the arts to the visitor with a unique

perspective of ordinary, everyday life, together with an opportunity to participate. Arts festival

were also opined to provide excellent support for artistic, cultural and audience development

and to have their primary focus on the development, presentation and/or participation in the

arts.

An arts festival must thus give attention to the arts. The unique nature of KKNK is clearer within

the divisions of the arts. The arts can be divided into two divisions, the performing arts and the

visual arts (Hughes, 2012:5). Broadly speaking, the performing arts (in which the participant is

the mode of artistic expression) include all types of music, dance and drama. The visual arts

(also referred to as the fine arts) is the product of artistic expression and includes painting,

sculpturing, engraving, printing, crafts and literature (Chaffee, 1984:312; Landwehr, 2002:12;

Edginton, Hudson, Dieser & Edginton, 2004:214). KKNK presents a unique compilation of these

different art forms for the festival visitor. For the purpose of this study, the term “art” will be

restricted to those art forms available at the KKNK. These art forms include dance and music

productions, drama and theatre productions, craft market, literature, paintings and sculptures

(KKNK, 2011; KKNK, 2012).

Each of these art forms must be developed and preserved for an arts festival to reach its goal of

contributing to the arts. The arts festival can then be identified as a contributor (contributing to

different subsets, for example, the different art forms), because of the positive outcomes that

accrue from these events (Besculides, Lee & McCormick, 2002:304). In the case of the present

study, the KKNK takes on the role of a contributor (one that contributes or helps) in the

development and enhancement of the arts (Visser, 2005:161; Kruger, 2009:13). Heilbrun &

Gray (2001), Jackson & O‟Sullivan (2002:327), Nieman (2003), Richardt & Wilson (2004),

Holden (2004), Visser (2005:160-162), Van Der Vyver & Du Plooy-Cilliers (2006:192), Quinn

(2006:301), Anheier & Isar (2008:3), Winner & Hetland (2008), Finkel (2009:13), Hutter &

Throsby (2008) and Hughes (2012), each identify differing contributions made to the arts by arts

festivals (see Figure 3.1).

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Figure 3.1: Author’s own compilation of the arts festivals’ contribution to the arts.

Sources: Adapted from studies done by Heilbrun & Gray (2001), Jackson & O’Sullivan (2002:327), Nieman

(2003), Holden (2004), Visser (2005:160-162), Quinn (2006:301), Van Der Vyver & Du Plooy-Cilliers (2006:192),

Hutter & Throsby (2008), Anheier & Isar (2008:3), Finkel (2009:13) and by Hughes (2012).

The first contribution of an arts festival is its educational contribution (1) (Korza & Magie,

1989:3; Faulkner, Moscardo & Laws, 2001:138; Heilbrun & Gray, 2001:229; Prentice &

Andersen, 2003:25; Quinn, 2006; Allen et al., 2012:50; Winner & Hetland, 2008; Anheier & Isar,

2008:8; Finkel, 2009; Dunjic, 2011; Page & Connell, 2012:352). The contribution of the arts

festivals can be seen here as the teaching of traditional and modern art forms. New and

established artists set the pace for the resurgence and preservation of these art forms, where

communication and information exchange take place to teach and develop new styles and

techniques (Faulkner et al., 2001:138). The people who learn to make art during a particular

time, such as at an arts festival, can become prominent artists, while the festival provides a

platform for artists and a platform where new knowledge can be generated and existing

knowledge propagated (Anheier & Isar, 2008:8). Through teaching, steps can be taken to make

sure that the art forms will not die with the artist (Phillips & Steiner, 1999:26). This may result in

the revival of the arts (Phillips & Steiner, 1999:25,127; Heilbrun & Gray, 2001:229; Quinn,

2006:302; Anheier & Isar, 2008:8; Finkel, 2009:13).

The second contribution of an arts festival is its emotional contribution (2) (Waterman, 1989:55;

Hughes, 2000:13; Heilbrun & Gray, 2001:228; Reeves, 2002:29,30,37; Axelsen, 2006; Schwarz

& Tait, 2007; Finkel, 2009:13). Reeves (2002:29) defines emotional contributions as, „those

effects that go beyond the artifacts and the enactment of the event or performance itself and

Contribution of an arts






Growth and development contribution


100

have a continuing influence upon, and directly touch, people's lives‟. With this in mind, the arts

festival inspires arts participants to become part of the art world, broadening their social

networks and relationships (Heilbrun & Gray, 2001:228; Quinn, 2006:302). Emotional

contribution thus becomes an artistic activity, by stimulating creativity and enhancing innovation

(Reeves, 2002:30). The involvement in performing arts comes from witnessing and

experiencing the work of art or of the performing arts produced (Reeves, 2002:37). Thus, the

arts festival may inspire the individual to be part of the arts world (Waterman, 1998:55; Finkel,

2009:13; Hughes, 2012:13).

The third contribution, namely the economic contribution (3) of an arts festival, has been given

adequate attention in previous studies (Korza & Magie, 1989:3; Mitchell & Wall, 1989:39; Rolfe,

1992; Heilbrun & Gray, 2001:227; Kitshoff, 2004:238; Saayman & Saayman, 2004; Saayman &

Saayman, 2006; Quinn, 2006:301; Anheier & Isar, 2008:3; Snowball, 2010; Allen et al, 2012:61;

Jonker, Saayman & De Klerk, 2009:383; Finkel, 2009:12; Goeldner & Ritchie, 2009:81). Arts

festivals, as part of tourism, can provide other sources of audiences and revenue. It can

therefore support artistic life and activity and contribute to the existence of the arts (Hughes,

2012:153). The arts festival can be seen as an ideal income opportunity for artists, making it

possible for artists to support themselves through their work (Kitshoff, 2004:238). Additional

employment may also result, such as where the arts festivals can ask a sculpturer to sculp

objects relating to the specific festival theme, to let an actor play in an additional theatre

production aside from the primarily assigned production already performing in, or to ask a writer

to publish an article about the festival in an additional festival newspaper (Hughes, 2012:154).

Arts festivals may bring a further benefit in that the arts are able to continue when they

otherwise might not have done so (Hughes, 2012:154). The ability of festivals to attract tourists

may make the arts more attractive to sponsors as it offers a wider geographical spread to their

message (Hughes, 2012:156).

The quality contribution (4) pinpoints how festivals are in danger of “losing their magic” when

they grow too much and too rapidly (Korza & Magie, 1989:12,36; Reeves, 2002:37; Quinn,

2006:291,300; Allen, O‟Toole, Harris & McDonnell, 2008:180; Finkel, 2009:20; Liburd &

Derkzen, 2009:137). The festival‟s role in quality contribution focuses on service quality,

accessibility, festival variety, information and marketing, performing, participatory and visual

arts, and on the overall image of the festival (Getz, 1997:11). It is vital to establish standards of

quality. In the case of the arts, the arts are a discipline having a history of development, levels

of training and experience (Korza & Magie, 1989:12), where these standards must be of

relevance. The arts festival itself has an effect on standards. The production must be

particularly „professional‟ in content, „spectacular‟ and „unique‟ (Hughes, 2012:156). The term

„quality‟ fosters individuality. “If we all carve the same things, or just traditional objects, then

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nobody‟s objects would stand out; since all men carve, there is competition to be unique”

(Phillips & Steiner, 1999:62). This is also true for the performing arts, enhancing the quality in

performances and thus the artists as well (Faulkner et al., 2001:138). The attendee must be

inspired, leaving thinking positively towards the production or performance (Brown & Novak,

2007:50; Reeves, 2002:37). High quality products and performances may attract visitors to the

festival repeatedly, leading to annual visitor revenue and re-investment in the arts festival

(Quinn, 2006:302). This gives clear evidence that the quality of the art festivals and their

economic contribution goes hand in hand.

The fifth contribution entails the marketing contribution (5) of an arts festival (Korza & Magie,

1989:3; Bonus & Ronte, 1997:112; Nieman, 2003; Kitshoff, 2004:238; Richardt & Wilson, 2004;

Visser, 2005:162; Quinn, 2006:294; Van der Vyver & Du Plooy-Cilliers, 2006:192; Hutter &

Throsby, 2008; Anheier & Isar, 2008:264; Jonker et al., 2009:383; Page & Connell, 2009:393;

Koopman, 2012; Hughes, 2012:154). The arts benefit through the awareness that the arts

festival provides (Hughes, 2012:154; Jonker et al., 2009:383). This is where networks can be

built and the promotional value of the arts to the sponsors can be identified (Nieman, 2003;

Visser, 2005:162; Van Der Vyver & Du Plooy-Cilliers, 2006:192; Hutter & Throsby, 2008;

Anheier & Isar, 2008:3). Further, the marketing contribution can create local demand for the arts

and related services by raising the profile of the arts (Quinn, 2006:302). Festivals may be the

only occasions when artists are seen or heard (Hughes, 2012), thus making the visitors more

aware of new and upcoming artists (Kitshoff, 2004:238). The festival may introduce music or

plays that are not commonly heard or seen. By placing them in a festival concept, they may

succeed in appealing to a wider audience, and not just to the locals. This will make the

production more viable (Hughes, 2012). The festival might foster greater appreciation for well-

established artists and can make the arts (for example, literature content) identifiable to a broad

population (Phillips & Steiner, 1999:90).

The final contribution, the growth and development contribution (6), is where the arts festival

plays a significant role in keeping the arts alive (Waterman, 1998:55; Korza & Magie, 1989:3;

Hughes, 2012:153; Faulkner et al., 2001:138; Heilbrun & Gray, 2001:228; Kitshoff, 2004:240;

Visser, 2005:160; Quinn, 2006:302; Anheier & Isar, 2008:263; Saayman & Rossouw, 2011:611;

Koopman, 2012). The growing influence of entertainment is creating new ideas in entertainment

management (Goeldner & Ritchie, 2009:229). These may include creating and intensifying

awareness and appreciation of particular art forms, expanding venue infrastructures and

creating demand for new services and products (Waterman, 1998:55; Hughes, 2012:94,171;

Quinn, 2006:291,302). The arts festival thus acts as a catalyst for further creativity by prioritising

development of local artists and the arts (Quinn, 2006:302). According to Phillips & Steiner

(1999:9), the interactive process between producer and consumer intensified, resulting not only

102

in increased replications of objects but also in the production of many innovative hybrid art

forms. The survival of the arts may be particularly important where it is felt that a particular art

form may be in danger of vanishing. The arts festival may therefore allow the continuance of

productions, art forms and venues considered to be important enough to survive (Hughes,

2012:155). Through this, the arts festival may be helpful in providing productions that can be

held in theatre halls throughout the year (Hughes, 2012:155).

The effective and successful accomplishment of an arts festival‟s goal of contributing to the arts

may be indissoluble from the way festival visitors perceive these six contributions. People who

attend arts festivals are seen as being cultured (Hughes, 2012:14; Ivanovic, 2008:21), well-

educated, wealthy and matured (Hughes, 2012:16; Dimaggio & Useem, 1978:185) and may

thus have different perceptions regarding contributions made. These perceptions can also differ

according to the socio-demographic and economic profile of these festival visitors (Schimp,

2010:122; Keaney, 2008:105; Schiffman & Kanuk, 2009:48; Besculides et al., 2002:308). Even

some activities or programmes at the festival can be perceived differently (Reeves, 2002:38).

Strydom (2011:61), Schiffman & Kanuk (2009:152) and George (2004:400) define perception as

the process by which an individual selects, organises and interprets stimuli into a meaningful

and coherent picture of the world (for example, how the festival attendee perceived the arts

festival„s contribution to the arts). Perceptions may be negative or positive, and may vary in

intensity depending on the environmental influences on judgement. Therefore, it is critical to

develop positive perceptions in the minds of potential and current festival visitors, as they are

the important role-players in ensuring the arts festivals‟ contribution to the art forms (Reisinger &

Turner, 2012:151). For example, the visitors‟ positive perceptions determine the selection of the

arts they prefer (Uusitalo, Simola & Kuisma, 2009:7). The more favourable these perceptions

are, the greater the likelihood of annual festival attendance. Previous studies on perception and

demographic variables found that the visitor‟s age (Schifter, 2002; Cohn, Macfarlane, Yanez &

Imai, 1995:220; Dimaggio & Useem, 1978:184), geographical location (Jurowski & Gursoy,

2004:299; Mansfeld, 1992; Sheldon & Var, 1984), the arts preferred (Swami, Stieger, Pietsching

& Voracek, 2010:855; Keaney, 2008:108; Winston & Cupchik, 1992:8) and the level of exposure

during childhood to the arts (Uusitalo, Simola & Kuisma, 2009:7; Hughes, 2012:62; Dimaggio &

Useem, 1978:184), may all have an influence on the manner in which visitors perceive the

festival‟s contribution. These four variables will therefore also be investigated in this paper.

The KKNK was evaluated in terms of these perceived contributions to determine if the arts

festival can still be identified as an contributor to the arts; its contribution to all forms of the arts

it presents; and the extent thereof. By comparing the definition of an arts festival with the goals

or purpose of the KKNK, several conclusions can be drawn in order to determine whether the

KKNK is theoretically set out to contribute to the arts and if it is actually doing so. With the goal

103

of the KKNK and the reason for its establishment in mind, can this arts festival still be defined as

an arts contributor, even though the KKNK takes on the role of a combined arts festival,

providing opportunities for socialisation and bringing the arts to the people? Therefore, based

on the role of KKNK, this chapter (Article 1) determined whether this festival contributes to the

arts based on the contributions that were previously identified (for example, development or

marketing of the arts). This study addresses the underlying question of whether or not this arts

festival has turned primarily into a social gathering as opposed to an arts event that focuses on

its main role, contributing to the livelihood of artists and to the arts in all their forms. This

research provides KKNK organisers with the necessary information to further enhance the

festival‟s contribution to all forms of art, thus satisfying and potentially broadening the arts

audiences at KKNK. The findings may also indicate possible shortcomings regarding the

festival‟s current contribution to the arts, thereby providing insights enable the most effective

use of resources to maximise the contribution of KKNK to the performing and visual arts.


For the purpose of this chapter (Article 1), the data obtained during the 2012 KKNK was used. A

structured questionnaire was used to collect the data. The method of research used will follow

under the headings, (i) the questionnaire and (ii) statistical analysis.

3.3.1 The questionnaire and survey

A destination-based survey was undertaken at the arts festival, where questionnaires were

evenly distributed at various venues during its hosting in April 2012. The respondents (both

ticket buyers and non-ticket buyers) were asked to complete the questionnaire in and around

the festival areas and were assured of both anonymity and confidentiality. Respondents were

free not to participate in the survey should they so choose. The questionnaire was divided into

three sections. The first section measured the perceptions of the festival visitor concerning the

contributions of the festival to the arts. The questions used were based on the works of Jackson

& O‟Sullivan, 2002:327, Nieman, 2003, Holden, 2004, Finkel (2009) and of Hughes (2012). This

section was further divided into two categories, (a) the performing arts; and (b) the visual arts.

The same questions were asked in each section to determine the level of the contribution that

an arts festival makes to the performing arts and the visual arts, at least as this was perceived

by the festival attendee. These questions were measured on a 5-point Likert scale of

agreement, with (1) do not agree, (2) agree to a lesser extent, (3) agree, (4) agree to a greater

extent, and (5) fully agree, to determine the extent of agreement. The second section

determined the socio-demographic profiles of the festival attendees. This was followed by a

final section that sought to measure the actual buying or after-purchase behaviour of the

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respondents, thus determining their real financial contribution to the arts. These two sections

comprised both open- and closed-ended questions. A total of 602 completed questionnaires

were collected, making the sample size more than large enough, according to a study done by

Krejcie & Morgan (1970:608). This study indicated that 380 respondents (n) could be seen as

representative of a population of 100,000 (N) and would result in a 95% level of confidence with

a ±5 sampling error. The formula to calculate the appropriate sample size, according to Krejcie

& Morgan (1970:610), is as follows:

s = X2 N P (1 – P) / d2 (N – 1) + X2 P (1 – P)

where X2 = the desired confidence level; N = the population size; P = the population proportion;

and d = the degree of accuracy (expressed as a proportion). The analysed data can thus be

used to produce valid results and efficient conclusions and recommendations concerning

possible improvements for the festival.

3.3.2 Statistical analysis

Microsoft™ Excel™ was used to capture the data and SPSS® 20.0, Release 20.0.0 (SPSS Inc,

2012) was used to analyse it. The analyses were completed in three stages. First, the general

profile of the festival visitors to KKNK was determined through SPSS. Second, an exploratory

factor analysis of the different contributions to the arts festival was made. Lastly, t-tests and an

analysis of variance (ANOVA) were completed to determine possible differences in the

perceptions of the festival attendees. These perceived differences were determined depending

on the festival attendees‟ degree of exposure to the arts (little, moderate or a great deal),

followed by their different age groups, their geographic profile and the arts they prefer.

The results of the statistical analyses are discussed in the next section.

3.4 RESULTS

The results are presented in three parts, the general profile of the 2012 respondent population

to the KKNK; the results of the exploratory factor analyses and, finally, the t-tests and ANOVAs

between the level of exposure, different age groups, geographic profile and arts preferred.

3.4.1 Profile of respondents surveyed at KKNK

Table 3.1 indicates that 66% of the respondents were female, while 34% were male. The results

also indicate that most of the respondents were middle-aged or older adults, with an average

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age of 48 years. The respondents‟ favourite type of art was theatre (51%) and music (34%).

This correlates with the most preferred arts of the respondents, where the 84% of the

respondents preferred the performing arts, followed by 16% who preferred the visual arts. Forty-

three percent (43%) of respondents had had moderate exposure to the arts during childhood,

37% had had little exposure, followed by those who had had a great deal of exposure to the arts

(20%). The majority of the respondents were from the Western Cape (59%), followed by those

groupings from Gauteng (15%) or the Eastern Cape (14%) provinces.

The degree to which a respondent was involved in contributing to the arts was as follows: An

average of 1.15 books was purchased per person at the festival, followed by those purchasing

1.19 CDs and/or DVDs, and 0.24 paintings. The respondent saw an average of 4.7 new artists

(both paid and unpaid performances) at the festival. Respondents attended an average of 0.76

dance productions and purchased an average of 8.34 tickets per person. Respondents

indicated that they were currently involved in 0.37 art associations/clubs. Respondents only

visited 1.54 other arts festivals during the year, while they had visited KKNK, during its 18 years

of existence, 7.13 times.

Table 3.1: Profile of visitors to the Klein Karoo National Arts Festival

Variable Percentage (%)

(n=600)

Variable Percentage (%)

(n=600)

Age % Province of origin %

<19 6% Western Cape 59%

20-24 6% Gauteng 15%

25-34 10% Eastern Cape 14%

35-44 12% Free State 4%

45-54 25% KwaZulu-Natal 2%

55-64 25% Mpumalanga 1%

65> 16% Northern Cape 3%

Average age: 48 years North West 1%

Limpopo 1%

Type of arts preferred

% Degree of arts exposure %

Performing arts 84% Little 37%

Visual arts 16% Moderate 43%

A great deal 20%

Favourite type of arts % Personal involvement Averages

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Theatre 51% Average books purchased 1.15 books

Dance 4% Average CD‟s, DVD‟s purchased 1.19 CD‟s / DVD‟s

Music 34% Average paintings, sculptures

purchased

0.24 paintings

Painting 4% Average new artists see perform 4.7 artists

Literature 2% Number of dance productions

attended

0.76 productions

Photography 2% Average number of tickets

purchased for productions, shows

8.34 tickets

Films 2% Number of arts associations/clubs

currently involved

0.37 art

associations/clubs

Sculpting 1% Average visits to the KKNK

festival

7.13 times

Average visits to other arts

festivals

1.54 times

3.4.2 Results from the factor analyses

Once the results were obtained from the KKNK-survey, an exploratory factor analysis was

applied to validate and determine the reliability of the data. The pattern matrix of the principal

component factor analysis resulted in all 23 items loading (with a loading greater than 0.3) and

revealing five factors, all of which were statistically valid (Table 3.2). These factors were labelled

according to similar characteristics, namely Visual arts enhancement (Factor 1), Performing arts

enhancement (Factor 2), Emotional inspiration (Factor 3), Visual arts involvement (Factor 4) and

Performing arts exposure (Factor 5). The Cronbach Alpha coefficients range from 0.743 (the

lowest) to 0.971 (the highest). The average inter-item correlation coefficients with values

between 0.408 and 0.892 also imply internal consistency for all factors. These relatively high

factor loadings indicate a reasonably high correlation between the factors and their component

items (Kruger & Saayman, 2012:153). Therefore, validity was confirmed and the data were

considered as being acceptable for exploratory research (Field, 2005).

The mean values of the five identified factors clearly indicated that Performing arts exposure

(Factor 5) was the most important factor whereby an arts festival contributes to the arts, having

a mean value of 3.940. This was followed by Performing arts enhancement (Factor 2) with a

mean value of 3.891. Factor 1, Visual arts enhancement, had a mean value of 3.513; followed

by Factor 4 (Visual arts involvement) with a mean value of 3.295. The factor that was perceived

to contribute the least was Emotional inspiration (Factor 3) with a mean value of 3.272.

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Table 3.2: Factor analysis (KKNK’s contribution to the arts)

FACTOR LABEL

Factor 1:

Visual arts

enhancement

Factor 2:

Performing

arts

enhancement

Factor 3:

Emotional

inspiration

Factor 4:

Visual arts

involvement

Factor 5:

Performing

arts

exposure

KKNK market known and new

artists in the visual arts

0.893

Due to KKNK, there is a

growth in the number of

painters, sculptors,

photographers and writers who

enter the market

0.888

Due to KKNK, the number and

variety of works increased in

SA

0.874

Due to KKNK, there is a



and literature

0.829

Marketing KKNK makes

people more aware of the SA

art and literature in general

0.824

KKNK brings networking

opportunities to visual artists

0.823

KKNK financial support

contributes to growth in visual

arts

0.794

KKNK promotes the image of

the visual arts (paintings,

sculptures, photo art, books) in

South Africa

0.788

KKNK improves people's

knowledge about the visual

arts

0.765

KKNK promotes research in

the visual arts

0.751

KKNK contributes to

developing the skills of


photographers and writers.

0.730

KKNK develops infrastructure

for the exhibition of visual art

0.704

KKNK enhances the quality of


0.557

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Painters, sculptors and writers

at KKNK create a quality

experience of visual art during

the festival

0.503

KKNK creates a platform for

the availability of quality

paintings, sculpture, photo and

art books

0.402

KKNK contributes to more


individuals within the theatre,

dance and music industry.

0.722

KKNK contributes to a more

stable income for individuals

within the theatre, dance and

music industry.

0.691

KKNK improves people's

knowledge about the

performing arts

0.643

KKNK contributes to the

development of actors,

dancers and singers' skills

0.602

KKNK contributes to an

increase in ticket sales of

dance, theatre and music

productions.

0.585

KKNK selection criteria

contributes to quality music,

dance and theatre productions

0.564

KKNK promotes research in

the performing arts

0.485

The singers / actors / dancers

at KKNK create a quality


during the festival

0.479

KKNK improves the quality of

actors, singers and dancers

0.475

KKNK inspires people to

become actors, dancers and

singers

0.690

KKNK influences people to join

arts associations (for example,

dance and theatre groups)

0.669

KKNK inspires people to 0.443

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become painters, sculptures,


Due to KKNK, more people

make a financial input to the

visual arts

0.616

KKNK motivates people to buy

more paintings

/sculptures/photo art

0.614

KKNK motivates people to buy

more books

0.551

KKNK creates more work

opportunities for visual artists

(sculptures/painters/photograp

hers/writers)

0.498

KKNK contributes to a

sustainable income for

painters, sculptures,


0.488

KKNK influences people to join

art associations (for example,

book clubs, photography

clubs)

0.462

KKNK motivates people to visit

more art exhibition, art

markets, craft stalls or book

exhibitions

0.839

KKNK contributes to a growth

in the production of

theatre/music CD‟s and DVD‟s

0.805

Due to KKNK, the number and

variety of productions in SA

increased

0.750

KKNK promotes known and

new artists in the performing

arts

0.669

The marketing of KKNK makes

people more aware of

productions in the country in

general

0.644

Due to KKNK, there is growth

in the number of artists,

dancers and singers that enter

the market

0.630

KKNK brings about networking

opportunities for performing

0.606

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artists

KKNK develops infrastructure

for theatre, dance and music

productions

0.567

KKNK‟s financial support

contributes to the growth in

productions

0.560

FACTOR LABEL

Factor 1:

Visual arts

enhancement

Factor 2:

Performing

arts

enhancement

Factor 3:

Emotional

inspiration

Factor 4:

Visual arts

involvement

Factor 5:

Performing

arts

exposure

Cronbach’s Alpha 0.971 0.907 0.743 0.923 0.917

Mean Value 3.513 3.891 3.272 3.295 3.940

3.4.3 Comparison of festival visitors’ perceptions of KKNK’s contribution to the arts

Next, possible differences in the perception of attendees were determined, based on the four

variables of the preferred art form; the extent of exposure to the arts; the age; and the

geographic location of the respondents. It was not purposed to investigate why differences

existed, only to determine if indeed there were differences in perception between the four

variables. A one-way-analysis of variance (ANOVA) and independent-sample t-tests were

conducted to test for significant differences in the mean values of these specific independent

variables, based on each of the factors identified by the factor analysis. As previously indicated,

these variables were found to have had possible influences on the respondents‟ perceptions;

and so were tested in this study (Sheldon & Var, 1984; Winston & Cupchik, 1992:8; Mansfeld,

1992; Cohn et al., 1995:220; Schifter, 2000; Jurowski & Gursoy, 2004:307; Uusitalo et al.,

2009:7; Keaney, 2008:108; Swami et al., 2010:855; Hughes, 2012:62).

3.4.3.1 Comparison by extent of arts exposure

An ANOVA was carried out to determine statistical significant differences between the extents

of exposure to the arts during childhood years (a little, moderate, a great deal) based on each of

the identified factors. No statistically significant differences were found between the arts

exposure categories. In general, respondents agreed that KKNK indeed contributes to the arts

as specified by the five factors (since the mean values were 3.19 and above, with 3.00

indicating “I agree” on the 5-point Likert-scale). Attendees across all levels of arts exposure

were of the opinion that Performing arts exposure was the greatest arts contribution made by

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the KKNK, whereas they believed the smallest contribution (by average) was Emotional

inspiration (Table 3.3). These results correspond with the results of the factor analysis.

Table 3.3: ANOVA for comparison of identified factors by the level of arts exposure

Identified factors

Little

(n=220)

Moderate

(n=254)

A great deal

(n=124)

F-value

P-value

Mean & Std Dev Mean & Std Dev Mean & Std Dev

Visual arts

enhancement

3.43 (±.85) 3.57 (±.83) 3.52 (±.86) 1.585 .206

Performing arts

enhancement

3.86 (±.72) 3.89 (±.69) 3.86 (±.70) .170 .844

Emotional

inspiration

3.19 (±.89) 3.33 (±.88) 3.31 (±.88) 1.657 .192

Visual arts

involvement

3.20 (±.90) 3.38 (±.90) 3.29 (±.85) 2.150 .117

Performing arts

exposure

3.91 (±.76) 3.96 (±.69) 3.96 (±.65) .261 .771

3.4.3.2 Comparison by age

An inspection of the mean scores indicated that some age groups were found to be significantly

different at the p<0.05 level of significance to the identified factors (Table 3.4).

Table 3.4: ANOVA for comparison of identified factors by the different age groups of respondents

Identified

factors

0-24 years

(N=72)

25-34

years

(N=62)

35-44

years

(N=70)

45-54

years

(N=151)

55-64

years

(N=151)

65+

(N=91)

F-

value

P-

value

Mean &

Std Dev

Mean &

Std Dev

Mean &

Std Dev

Mean &

Std Dev

Mean &

Std Dev

Mean &

Std Dev

Visual arts

enhancement

3.80 (±.66) 3.40 (±.84) 3.58 (±.86) 3.44 (±.84) 3.47 (±.90) 3.49

(±.84)

2.387 .037*

Performing

arts

enhancement

3.95 (±.60) 3.73 (±.65) 3.95 (±.75) 3.91 (±.68) 3.86 (±.73) 3.82

(±.73)

1.040 .393

Emotional

inspiration

3.62 (±.86) 3.09 (±.79) 3.40 (±.91) 3.12 (±.93) 3.23 (±.91) 3.36

(±.74)

4.277 .001*

Visual arts 3.56 (±.82) 3.13 (±.81) 3.44 (±.95) 3.27 (±.92) 3.28 (±.88) 3.20 2.364 .039*

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involvement (±.85)

Performing

arts exposure

3.96 (±.61) 3.71 (±.74) 3.96 (±.74) 3.97 (±.67) 3.97 (±.74) 3.97

(±.73)

1.432 .211

Significant differences were found between the different age groups regarding Factor 1 (Visual

arts enhancement) where the age group 0-24 years differed from the age group 45-54 years

(sig 0.039). Significant differences were also found within Factor 3 (Emotional inspiration) where

the age group 0-24 years differed from age groups 25-34 years (sig 0.007); 45-54 years (0.001)

and 55-64 years (sig 0.028). Factor 4 (Visual arts involvement) also differed significantly

between age groups 0-24 years and 24-34 years (sig. 0.072).

3.4.3.3 Comparison by geographic profile

An independent-samples t-test was conducted to determine differences in the geographic

residence (Western Cape Province compared to the other eight provinces in South Africa) of

attendees based on each of the factors. There were no significant statistical differences

(p<0.05) revealed by the results (Table 3.5).

Table 3.5: T-test for comparison by geographic profile of identified factors for performing arts and visual arts

Factor domains

Western Cape

Province

(n=350 )

Other provinces

(n=236 )

F-value

P-value

Mean & Std Dev Mean & Std Dev

Visual arts enhancement 3.53 (±.84) 3.48 (±.85) .113 .737

Performing arts

enhancement

3.83 (±.72) 3.92 (±.67) .988 .321

Emotional inspiration 3.28 (±.89) 3.25 (±.86) .044 .833

Visual arts involvement 3.30 (±.88) 3.27 (±.91) .005 .944

Performing arts exposure 3.90 (±.73) 3.99 (±.68) .778 .378

3.4.3.4 Comparison by preferred arts

An independent-samples t-test was conducted to compare the identified factors between the

performing arts and the visual arts. Table 3.6 indicates no significant statistical differences

(p<0.05) in scores for performing arts and visual arts for the factors, thus their perceptions

regarding art contributions were relatively the same.

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Table 3.6: T-test for comparison by preferred arts of identified factors for performing arts and visual arts

Factor domains

Performed arts

(n=460)

Visual arts

(n=89)

F-value

P-value

Mean & Std Dev Mean & Std Dev

Visual arts enhancement 3.50 (±.85) 3.62 (±.82) .170 .680

Performing arts enhancement 3.89 (±.71) 3.85 (±.71) .046 .830

Emotional inspiration 3.27 (±.90) 3.38 (±.86) .094 .759

Visual arts involvement 3.27 (±.90) 3.41 (±.87) .353 .553

Performing arts exposure 3.95 (±.72) 3.92 (±.66) 1.185 .277

3.5 FINDINGS

The research set out to answer the questions whether or not KKNK still contributed to the arts

and the forms it presented and whether perceived contribution to the arts differ regarding the

socio-demographic characteristics of the visitors to the festival. Part of this evaluation process

included seeking feedback from festival visitors during the festival to determine the immediate

perception these visitors had of the festival‟s contribution to the arts. The results of this research

offer the following findings.

Firstly, the perception of the festival attendees is that the KKNK indeed contributes to all the

factors as all their mean values are above 3.00 (where 3.00 indicate that the respondent/festival

visitor agrees according to the 5-point Likert-scale). These factors include Performing arts

exposure (Factor 5) with a mean value of 3.94; Performing arts enhancement (Factor 2) with a

mean value of 3.89; Visual arts enhancement (Factor 1) with a mean value of 3.51; Visual arts

involvement (Factor 4) with a mean value of 3.30; and Emotional inspiration (Factor 3) with a

mean value of 3.27.

Secondly, although it was perceived that KKNK still makes a significant contribution to

Emotional inspiration, this is perceived to be the smallest contributor of all the factors. In a study

done by Reeves (2002:37), inspiration stemmed from participation and the development of

creativity through experience. It is thus important for festival organisers to motivate the visitors

to attend the occasional festival show or production in order to stimulate inspiration and so

enhance their perceptions regarding this contribution. This makes consideration of the

Emotional inspiration factor important, even though it is perceived by respondents as the

smallest contributor to their experience.

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Thirdly, the general perception of the festival attendees is that the KKNK contributed more to

the performing arts than it did to the visual arts. This supports previous research and literature

conducted at the KKNK from 2006 to 2011, where festival visitors attended more performing

arts than they did the visual arts related activities (for example, where 89% of festival visitors

attended theatre and music productions, followed by 11% that attended literature and art

exhibitions in 2011) (Slabbert, Viviers, Oberholzer, Saayman & Saayman, 2011).

Fourthly, there were no statistically-significant differences between the perceptions of attendees

who had either a little, moderate or great deal of previous arts exposure concerning the factors.

Previous studies done by Dimaggio & Useem (1978:187), Heilbrun & Gray (2001:399) and

Hughes (2012:62) concerning the level of exposure, contradicts with this result, indicating that

greater exposure to the arts during childhood increases arts involvement in later years. These

authors examined the phenomenon further, suggesting that children of the well-educated are

more likely than others are to have been exposed to the arts while they were young, and that

this early involvement will/might persists into adulthood. Interestingly, this involvement might

indicate a high-level exposure, leading to expert opinions in the arts. Tobias (2004:110) states

that the more exposed and experienced an attendee was in the arts, the more familiar they

became with the arts environment, and the greater the development of expert opinion and

preference was that occurred within these individuals. In the case of this study, experts in the

arts could be seen as insiders who know and graded each other in their valuation based on

experience, knowledge and intuition in the arts (Bonus & Ronte, 1997:104). Many of these

experts might themselves have practised as artists at some time, while others had either

studied art history or had experienced the arts (for example, by attending an arts festival), and

had thus developed cultural knowledge (Bonus & Ronte, 1997:104). Uusitalo et al. (2009:6)

support this finding. In addition, their study indicated that satisfaction in the arts, was due to

festival visitors‟ familiarity and knowledge about an individual art form (or in several forms) and

artist (well-known or new artists in the market). A high level of exposure indicated involvement

in the arts, and a high level of involvement in the arts meant that the visitors could respond with

expert opinions concerning the festivals‟ contribution to the arts.

Fifthly, based on previous studies, which found that the perception of attendees living closer to

the festival area could differ as opposed to those of attendees living further away from the

festival; the perception of attendees at KKNK indicated no statistical significant differences in

this regard. This contradicts Jurowski & Gursoy (2004:299) who reported that people living

closer to the tourist attraction, for example, to an arts festival, were likely to have more positive

perceptions (concerning to tourist impact and attitudes towards tourism) than were those living

further from the attraction (see Mansfeld, 1992; Sheldon & Var, 1984).

115

Sixthly, the perception of attendees who prefer performing arts as opposed to visual arts did not

differ with regard to the factors. Again, it was discovered that previous studies done on

perception and preference contradicted this finding, as they indicated that perception may differ

according to the individual‟s preference (Winston & Cupchik, 1992:8; Keaney, 2008:108). If the

visitor preferred a specific, but familiar, type of art, it was because of the positive emotions it

evoked and stimulated (Uusitalo et al. (2009:7). This preference was believed to lead to

involvement. This opinion was supported by Swami et al. (2010:855). They believed that greater

experience of, and greater interest by engaging with, an arts-related activity could lead to a

stronger preference for that type of art in general, as well as to greater appreciation of a specific

art form (for example, for the modern arts as opposed to traditional arts forms). A study done by

Silva (2006:148) suggested that preference may differ according to a „taste‟ for a specific art

form. It can be argued that a taste for art can be described as a „cultivated‟ taste, meaning that

one has to be familiar with a given form of art to develop a taste for it, and the more familiar one

becomes, the stronger the taste grows (Heilbrun & Gray, 2001:398). Arts education can help to

cultivate the appropriate tastes, by directly stimulating demand for an art form (Heilbrun & Gray,

2001:399).

Seventhly, based on the factors, statistically significant differences were found between the

perceptions of different age groups. The age group „below 25 years‟ perceived that KKNK

contributed more to visual arts enhancement than did the other age groups. These younger

attendees (below 25 years) also perceived KKNK to contribute more to the arts concerning their

emotional inspiration (Factor 3) (for example, to become performing or visual artists) when

compared to the majority of the other attendees (age categories 25-34; 45-54 and 55-64). This

supports previous research where arts participation was measured concerning younger

participants, where participation would imply having seen some of an artist‟s actual works

(Silva, 2006:152) or by attending a performance. Bonus & Ronte (1997:104) founded that

perception differences might occur where participation was influenced by the knowledge and

level of exposure to the particular art form. The results of studies by DiMaggio & Mukhtar

(2004:176,177,183) and by Silva (2006:150) indicated that the younger respondents

participated more in the visual arts; visiting art museums and galleries, where participation in

the performing arts, such as attending a music concert, remained the same. This supports the

findings on age perception differences as described above.

Finally, the perception of younger attendees (below 25 years) also differed from the age group

25-34 year olds, when based on the factor Visual arts involvement. Levy (1988), as cited by

Tobias (2004:110) made the distinction between experienced arts enthusiasts and the „lay

public‟. Attendees only become experienced if they attend the occasional festival show or

production, making the unknown into the known through discovering by consuming. The

116

cultured person may be seen as well-educated and has been either moderately or, to a great

deal, exposed to the arts from a young age (Keaney, 2008:102; Hughes, 2012:62,144;

Dimaggio & Useem, 1978:185), giving the older market more expertise in the arts field, and

leading to a more critical perception regarding contribution (Tobias, 2004:110).

3.6 IMPLICATIONS

Although the general perception of most festival attendees is that the KKNK contribute to all of

the different factors, none of the mean values are above 4.00, indicating that there is room for

KKNK to improve the perceptions of festival attendees. Festival attendees become accustomed

to what an arts festival offers, perhaps by seeing or by experiencing the artistic products,

activities and performances repeatedly. Thus the festival must find and offer new artists, arts

products, packages or experiences, in order for the festival attendees to improve their

perceptions regarding the festival‟s contribution to the arts (Fridgen, 1996:33). The festival can

also introduce other art forms such as films and photography to the festival programme.

The KKNK can work towards a greater balance in the perception of their contribution to the arts

between performing arts and visual arts, specifically by improving the perception of KKNK‟s

contribution to visual arts. More marketing and exposure to quality visual arts presented at the

KKNK can improve the perceptions of the festival visitor, for example, by interviews with new

and with well-known visual artists before and during the festival, thus giving the visitor an insight

into what they offer. The festival can bring the visual arts to the performing arts, by presenting

work of arts in the foyers of production venues to further promote exposure to these art forms.

KKNK could focus on improving perceptions regarding emotional inspiration as a contribution to

the performing and visual arts. Arts and crafts workshops for attendees (for example,

photography, pottery and creative writing) could be beneficial in this regard. The hosting of

competitions for best paintings, sketches or even photographs could inspire young and old alike

to participate in the arts, by presenting their work at the festival. The festival could create an

opportunity for community participation in street theatre, plays and productions, thus broadening

and developing creative skills and participation for inspiration. In addition to this, KKNK can

create a platform for art and book clubs, thus inspiring the attendees to become more involved.

The younger attendees perceive that KKNK contributes to the arts to a larger extent. This is an

important evaluation as the younger generation is the upcoming market for KKNK. By them

having positive perceptions of KKNK‟s contributions to the arts, a good basis is provided for the

festival management to maintain this perception and for capturing the loyalty and involvement in

the arts of this generation.

117

Attendees‟ perceptions were similar concerning the varying extents in art exposure during

childhood, their geographic distribution or art form preference (visual or performing). These

insights can assist festival organisers not to stereotype visitors, which might lead to errors and

limit understanding of the festival visitors‟ behaviour. With no statistical significant differences

between these visitors‟ perception, a clear indication is given that the market may be

homogeneous where perceptions of contribution are the same. This makes marketing of the

arts festival simpler as the approach can be the same throughout the market.

3.7 CONCLUSION

This study has focused on the perceived contribution of an arts festival to the arts from the

festival visitors‟ perspective. It is clear that the festival attendees of the KKNK viewed the

festival as a means to create, develop and enhance the arts image; attract arts enthusiasts; as

well as to contribute to the arts economically, emotionally, educationally, and by marketing,

growth and quality. It is evident that the KKNK, although a combined arts festival, fulfils its main

goal of contributing to the arts. However, there is room for improvement. It was further found

that perception differences occurred when considering the age variable of visitors attending the

festival, but that no statistical differences were found between the geographic origin of visitors,

their preference for a particular art form, nor of their level of exposure to the arts during

childhood.

This research is the first of its kind in the South African arts festival context, and was the first to

be conducted in this context at the KKNK. A valid measuring instrument for arts festival‟s

contribution to the arts was developed. The research further contributes by supplying the

festival management of KKNK with valuable recommendations to enable continuing fulfilment

and possible improvement of its main reason for existence that is, ensuring the livelihood of the

arts. This study has also contributed to South African arts festival literature where focus were

placed on the contribution factors of these events to the arts forms it presents.

It is recommended that future research on this topic be conducted at other arts festivals, in

order to enable comparative studies. Further, research on the actual arts involvement of arts

festival attendees (their activities and spending relating to their arts involvement) should be

conducted in greater depth. Finally, it is recommended that a measuring instrument be

standardised for implementation at international arts festivals.

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CHAPTER 4

“PUT YOUR MONEY WHERE YOUR MOUTH IS”: PERCEIVED VS. ACTUAL

CONTRIBUTION TO THE ARTS AT TWO SOUTH AFRICAN ARTS FESTIVALS

“Each time you purchase a form of art,

you're investing in a piece of history and in another person's life.”

Diane Overmyer


http://quote.robertgenn.com/auth_search.php?authid=5394

128

“PUT YOUR MONEY WHERE YOUR MOUTH IS”: PERCEIVED VS. ACTUAL

CONTRIBUTION TO THE ARTS AT TWO SOUTH AFRICAN ARTS FESTIVALS

ABSTRACT

In literature, it is evident that arts festivals offer additional benefits to the arts and that the

visitors attending these festivals play a great deal in the realisation of these benefits when they

are personally involved. Perception and preference might influence personal involvement of

festival visitors when attending these events. The purpose of this chapter (Article 2) is to

examine the contributions of two Afrikaans arts festivals to the arts and to determine whether

preference for a particular type of art might influence personal arts involvement. Surveys were

conducted at Innibos and at Vryfees. Separate Exploratory factor analyses and two-way

frequency tables were conducted to determine the contributing factors of the festivals, followed

by independent t-tests to investigate any statistically significant differences between the visitors

preferring the performing arts and those preferring the visual arts and their personal arts

involvement. The results show some moderate differences between preference and personal

involvement in the arts. These results should be taken into consideration when marketing and

planning arts festivals in order to better their contribution to the arts and to personal arts

involvement.

Key words: arts contribution, arts festival, arts involvement, Innibos, perception, Vryfees

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4.1 INTRODUCTION

The knowledge base regarding arts festivals is increasing, especially information relating to arts

festivals in South Africa. Within the South African arts sector, which includes festivals, there are

those who believe that arts festivals contribute to the arts in other areas such as making an

economic contribution (Quinn, 2006; Snowball, 2010; Anheier & Isar, 2008), education (Dunjic,

2011; Allen, O‟Toole, Harris & McDonnell, 2012:50; Faulkner, Moscardo & Laws, 2001:138) and

to marketing (Page & Connell, 2009; Quinn, 2006:294; Kitshoff, 2004:238). In addition, interest

in arts festival research is increasing as the event subject develops and matures. However, to

date, there appears to be a dearth of research into arts festivals in general (Getz, Andersson &

Carlsen, 2010:34; Williams & Bowdin, 2007:305), and in particular, to the arts festivals‟ full

contribution to the arts.

In literature, the arts festival is commonly seen as the place where performing and visual art

forms, as well as entrepreneurial displays, are positioned for the public to celebrate and enjoy

(Quinn, 2006:927; Williams & Bowdin, 2007:306; Kruger & Petzer, 2008:113). The individual‟s

consumption actions are influenced by a combination of opportunities and constrains, including

available finance, time and perception (Page & Conell, 2009:75, 150). therefore, the perceptions

of visitors are important to the festival managers, because in reality, it is not what actually is so

that affects their actions, but what visitors think is so, that effects their actions. This is equally

true for the visitors‟ buying habits, their leisure habits and their holistic involvement in the

performing arts and visual arts at the festivals.

In order for an arts festival to contribute to the arts, it is important to know the visitors perception

of the arts, and so be able to offer unique arts products to sell to these visitors as an aid for the

arts themselves. Satisfactory experiences might be formed at the festival according to the

visitor‟s perception of the performing and the visual arts on display (Page & Conell, 2009:150),

where these perceptions are based on visitors‟ needs, wants, values, personal experiences

(Page & Conell, 2009:150) and preferences. Because individuals make decisions and take

actions based on what they perceive, it is critical for managers to understand the whole notion

of perception and its related concepts in order to more readily determine what factors influence

visitors to become personally involved in the arts. In this instance, it is vital to understand what

influences the visitor at festivals to be personally involved in the consumption and/or

participation in the performing and visual arts goods and activities when they prefer a certain

type of art. Ultimately, when visitors are exposed to or are experiencing first-hand the arts at the

festival, it may lead to the potential involvement of these arts products and activities on offer

(Bonus & Ronte, 1997:104; Uusitalo, Simola & Kuisma, 2009:6). Arts involvement can then be

seen as either active art-making, organisational volunteering or audience participation at the

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festivals (Guetzkoq, 2002:12). Festival visitors then form, in a sense, part of the festivals‟

contribution to the arts when they are personally involved in participating, consuming or even

volunteering in the arts (Guetzkow, 2002:2).

A seemingly simple question remains one of the principle challenges facing festivals and

research: what is the role of the festival visitor in the festivals‟ contribution to the product or

activity provided or celebrated? This is also true when placed in an arts festival context: what is

the festival visitors‟ personal involvement in the arts that are displayed at the festival and in the

festival‟s contribution to the arts? The role of the visitor, consciously or not, is to aid the arts

festival in its contribution to the arts.

This chapter (Article 2) examines the significance of contributions in terms of visitors‟ personal

involvement in the arts at art festivals. The primary aim is to determine the perceived

contribution of arts festivals to the arts and to analyse possible differences regarding festival

visitors‟ involvement in the arts at these festivals in relation to their arts preference. Twenty

thousand visitors may attend a festival and spend thousands, and knowing „how many‟ and

„how much‟ can give an indication to their personal involvement in the arts.

The chapter (Article 2) commences with a brief overview of two Afrikaans arts festivals in South

Africa, namely, the Innibos Lowveld National Arts Festival (Innibos) and the Vryfees Arts

Festival (Vryfees). According to the individual arts programs of these festivals, Innibos was

chosen for its large provision of visual arts products when compared to Vryfees, while Vryfees

was chosen for its greater focus on performing arts such as theatre productions

(InnibosKunstefees, 2012; Vryfees, 2012). These ever-popular and large arts festivals (in terms

of ticket sales and visitor attendance) are known to contribute to the arts when an investigation

is made into their mission and goal statements, respectively. Innibos, held in Mbombela

(Nelspruit), Mpumalanga, attracts almost 90,000 visitors (Kruger & Saayman, 2012:148;

Pissoort & Saayman, 2006:258), with more than 60 theatre and music productions and art

exhibitions, in and around the town. The Vryfees Arts Festival, formally known as the Volksblad

National Arts Festival, held in Bloemfontein, Free State, has an annual attendance of more than

30 000 visitors (Vryfees, 2012) and was established to develop local talent, create opportunities

for artists to perform together and to create work in all disciplines in the arts industry and

promoting the love for reading and literature among locals and tourists (Vryfees, 2012).

This study explores contribution, perception and involvement literature and research to place

the study in context. It then moves on to the results and findings to aid management in setting

up a strategy to ensure greater, personal involvement in the performing and visual arts at the

festivals, for more effective and fuller contribution to the arts and its forms.

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This chapter (Article 2) examines the bases of perception and discusses the principles that

influence perception and interpretation of the visitor‟s preference for performing arts and visual

arts. Knowledge of these principles enables managers to develop the arts festival for more

effective arts contribution. It also addresses the role of personal involvement and perceptions of

visitors to their preferred arts forms in order to play a greater role in the arts festival‟s

contribution to the arts. Thus, the contributions of an arts festival to the arts can be linked to

how the visitors at the festival perceive these arts and festival contributions.

4.2.1 The arts

The arts are composed of autonomous objects or activities (Phillips & Steiner, 1999:14). Arts

activities can be thought of as performing arts, for example, music-, dance and theatre

performances (Zijlmans & Van Damme, 2008; Heilbrun & Gray, 2001:4), whereas arts products

are the visual arts, for example, painting, sculpting and ceramics (Zijlmans & Van Damme,

2008:15; Edginton, Hudson, Dieser & Edginton, 2004:219; Chaffee, 1984:312). The arts may

also be defined as imitations of abstract ideas or natural activities (Phillips & Steiner, 1999:14).

The development of arts products and activities implies production of something distinctive; of

rarely produced pieces of high standard and quality (Hughes, 2012:189). The arts are created

for the arts lovers to enjoy or perhaps just for their own sake as an expression of the artist‟s

vision (Zijlmans & Van Damme, 2008). The arts are thus not created primarily with a view to

making money (Zijlmans & Van Damme, 2008). It is said that arts corresponds to a scientific

revolution, where every work of art figures out a new law, imposes a new paradigm or a new

way of looking at the world (Phillips & Steiner, 1999:90), thus reflecting certain perspectives of

the arts world.

4.2.2 Perception towards the arts

Perceptions can be defined as a process which refers to an individual‟s ability to gather,

organise and interpret information received from the environment in which s/he finds him/herself

(Saayman, 2006:90; Shiffman & Kanuk, 2009:152; Strydom, 2011:61). Perceptions of visitors

are based on a complex and interrelated set of personal (for example, motivation, attitudes and

personality), social (for example, social class, reference group and cultural background),

environmental (for example, the direct surroundings such as the production hall on the festival

grounds) and psychological factors (for example, beliefs and learning) (Saayman, 2006:89;

Fridgen, 1996:31), all of which influences a visitors‟ decision on involvement in the arts

(Fridgen, 1996:32). When a visitor purchases an art work, for example, there can be stated

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motivations and reasons that might have influenced the visitor‟s perception towards the work of

art and to actually buying the product (thus being personally involved). These motivations or

reasons might be due to quality, interesting uses of colour, technique preference, or because it

is the work of a famous painter (Throsby, 1994:4). Perception is also influenced by learning and

past experience. Over time, a person develops ways of perceiving the arts. As a perceiver

learns more about a person, a situation or product (such as artistic activities), perceptions

become keener (Tobias, 2004:110). With more experience, people are able to differentiate

quality from merely average products and services (Tobias, 2004:110; Fridgen, 1996:33). For

example, people explore festivals, and the arts present at these festivals, together with other

types of entertainment for new and different information.

Early studies revealed general principles that operate during the perception process. Festival

managers can use these principles in designing the festival and its properties to contribute to

the arts. According to Fridgen (1996:34), the first of these principles is sensory adaption. Arts

festivals and artists are constantly seeking new ways, techniques and ideas to represent arts

forms, and for their development (Schiffman & Kanuk, 2009:153). Through learning and

experience, a person develops expectations about what things go together (Fridgen, 1996:34).

At a festival, the visitor expects to see a theatre production and craft markets, but not with the

same level of service (that is, quality) as would be experienced at a local flea market or school

concert. The role of the context principle is important, where the term “context” is the setting or

the interrelated conditions in which something exists or occurs. Certain things are expected to

go together. This is the so-called figure-ground principle (Fridgen, 1996:35). The proximity

principle helps to organise the world, but can lead to faulty conclusions (Fridgen, 1996:35). For

example, it may be presumed that when the bell rings for a show, attendees enter the hall and

the show begins. Mere association may suggest that the bell bring attendees into the hall. But,

in reality, other motivations, not the bell, prompt the attendees to attend the concert. Selective

perception principle implies to festivals also (Fridgen, 1996:35). For example, as Fridgen

(1996:35) states, “the situation in which a visitor attends a less-than-perfect music production

must be considered. After the commitment is made, the visitor may ignore the negative side of

the production, such as lightning and technical difficulties through the process of selective

perception. In this way, the production may be seen as successful in the mind of the perceiver”

(Fridgen, 1996:35).

Fridgen (1996:37) identified the constituent elements of perception. The fundamental elements

involved are the perceiver, the target and the situation. For this study, the perceiver is the

festival visitor. Since the visitor is involved in perception, the characteristics of the individual

influence the resulting perceptions (Saayman, 2006:90). Characteristics of the visitor include

age, occupation, life-style and lifecycle-stage (Saayman, 2006:90). The targets of perception

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are manifold, other visitors, a work of art or an object at the arts and craft stalls. Like the

perceiver, the target also has characteristics that influence perception. Characteristics may be

the setting of the production, the type of beads used in the crafts market, for example. The

situation refers to the context in which the perception takes place. A physical situation could be

a production venue, an exhibition hall or socialisation tent. Perception takes place within social

situations also, which then falls within a wide range of human emotions. Difference in perception

might occur under the influences of anger, joy or satisfaction (Fridgen, 1996).

Perceptions can be either positive or negative (Reisinger & Turner, 2012:151). Perception can

also vary in intensity depending on the personal, social, environmental and psychological

influences on judgement concerning the arts product (Reisinger & Turner, 2012:151; Schimp,

2010:122; Keaney, 2008:105; Schiffman & Kanuk, 2009:48; Besculides, Lee & McCormick,

2002:308). Positive perceptions need to be formulated in the minds of the festival visitor. These

positive perceptions are important role-players, as they can be seen as the motivating factor in

the purchase of any arts product or activity (Reisinger & Turner, 2012:151). For example, the

visitors‟ positive perceptions will determine the selection of the arts they prefer (Uusitalo, Simola

& Kuisma, 2009:7). The more favourable these perceptions, the greater the possibilities of

future purchase behaviour and personal involvement in the arts.

4.2.3 Contribution to the arts

The transformation of data into information and knowledge can be thought of as learning.

Learning about the arts (in instances where the festival visitor is watching a music, dance, or

theatre production, or merely strolling on the festival grounds between the crafts markets) can

be enjoyable experiences (Fridgen, 1996:53). Human behaviour is largely the result of a

learning process (Saayman, 2006:89). This leads to the different contributions the arts festival

makes to the arts, not just for the enhancement and life-keeping of the arts, but also for

participation, appreciation and involvement (in terms of purchasing) in the arts. The

contributions that are key to involvement in the arts is mentioned in literature and in the studies

of many researchers such as Heilbrun & Gray (2001), Jackson & O‟Sullivan (2002:327),

Nieman (2003), Richardt & Wilson (2004), Holden (2004), Visser (2005:160-162), Van Der

Vyver & Du Plooy-Cilliers (2006:192), Quinn (2006:301), Anheier & Isar (2008:3), Winner &

Hetland (2008), Finkel (2009:13), Hutter & Throsby (2008) and of Hughes (2012).

Six major contributions are identifiable. The first contribution is the educational contribution

(Korza & Magie, 1989:3; Faulkner et al., 2001:138; Heilbrun & Gray, 2001:229; Prentice &

Andersen, 2003:25; Quinn, 2006; Allen et al., 2012:50; Winner & Hetland, 2008; Anheier & Isar,

2008:8; Finkel, 2009; Dunjic, 2011; Page & Connell, 2012:352), where visitors learn about the

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arts, and can make an informed decision regarding the purchase thereof (in terms of ticket sales

or the selling of art work). Secondly, the arts festival contributes economically to the arts (Korza

& Magie, 1989:3; Mitchell & Wall, 1989:39; Rolfe, 1992; Heilbrun & Gray, 2001:227; Kitshoff,

2004:238; Saayman & Saayman, 2004; Saayman & Saayman, 2006; Quinn, 2006:301; Anheier

& Isar, 2008:3; Allen et al., 2012:61; Snowball, 2010; Jonker, Saayman & De Klerk, 2009:383;

Finkel, 2009:12; Goeldner & Ritchie, 2009:81) where the arts sell for high prices. The visitor

may also be surprised with a bargain at these events, thus further influencing the visitor‟s

involvement. Thirdly, the visitor can be emotionally inspired by the arts at the festival

(Waterman, 1989:55; Hughes, 2012:13; Heilbrun & Gray, 2001:228; Reeves, 2002:29,30,37;

Axelsen, 2006; Schwarz & Tait, 2007; Finkel, 2009:13), not only enhancing the visitor‟s

enjoyment, but also stimulating involvement (for example, if the visitor perceived the production

positively, it might motivate the individual to purchase the book on which the play‟s script was

based on.

Fourthly, quality at the arts festival is perceived to be a contribution (Korza & Magie,

1989:12,36; Reeves, 2002:37; Quinn, 2006:291,300; Allen, O‟Toole, Harris & McDonnell,

2008:180; Finkel, 2009:20; Liburd & Derkzen, 2009:137). The festival aims to provide high

quality productions and art work. If the production is perceived by the visitor of a high standard,

s/he might be motivated to attend the production or even the festival the following year. Fifthly,

the arts festival has a marketing contribution (Korza & Magie, 1989:3; Bonus & Ronte,

1997:112; Nieman, 2003; Kitshoff, 2004:238; Richardt & Wilson, 2004; Visser, 2005:162; Quinn,

2006:294; Van der Vyver & Du Plooy-Cilliers, 2006:192; Hutter & Throsby, 2008; Anheier & Isar,

2008:264; Jonker et al., 2009:383; Page & Connell, 2009:393; Koopman, 2012; Hughes,

2012:154), where awareness and exposure to the arts are of utmost importance for the visitor. If

the visitor is not aware of the arts present at the festival, no positive perceptions can be

formulated, leading to lesser involvement to these arts. Sixthly and finally, the growth and

development contribution (Waterman, 1998:55; Korza & Magie, 1989:3; Faulkner et al.,

2001:138; Heilbrun & Gray, 2001:228; Kitshoff, 2004:240; Visser, 2005:160; Quinn, 2006:302;

Anheier & Isar, 2008:263; Saayman & Rossouw, 2011:611; Koopman, 2012; Hughes,

2012:153) of an arts festival plays a great deal in to the preservation of these arts.

4.2.4 Preference in the arts

These differences in perception might be due to the level of exposure to the arts of the visitors

in their childhood (or perhaps to current exposure) (Dimaggio & Useem, 1978:187; Heilbrun &

Gray, 2001:399; Hughes, 2012:62). Exposure to the arts can lead to a preference for a

particular type of art (studies have shown that performing arts are likely to be more preferred

than the visual arts). Preferences are similar between individuals, with variations in behaviour

135

caused by differing shadow prices of commodities produced in which material goods and

services, including the arts, enter as inputs (Throsby, 1994:7). The arts can further be

distinguished as being addictive, in the sense that an increase in an individual‟s present

consumption of the arts will increase her future consumption (Throsby, 1994:3). Taste (or

preference) for example, for a style of music, is an acquired taste that will increase over time

with exposure (Winston & Cupchik, 1992:8; Keaney, 2008:108; Swami, Stieger, Pietsching &

Voracek, 2010:855). It is thought that the relative consumption of the arts will rise over time, not

just because of a shift in taste, but because of experience (Swami et al., 2010:855; Throsby,

1994:3). Arts consumption can be interpreted as a process leading both to present satisfaction

and to the accumulation of knowledge and experience affecting future consumption and

involvement (Throsby, 1994:3). Whether it is referred to as an addiction or as the cultivation of

taste, the most relevant first step when developing a taste for the arts is dependent upon past

consumption and involvement.

In order to determine the personal involvement of visitors in the arts (their actual contribution),

and not just how they perceive the two arts festivals as contributing to the arts, the chapter

(Article 2) will take the following structure. Firstly, the method of research will be discussed,

followed by the results where recommendations and productive measures based on the

research will be recommended for arts festival managers to use to ensure the on-going

contribution of the festival to the arts.


This was a quantitative research study, where a structured questionnaire was used to collect

the data. The following section describes the questionnaire, the sampling method used for the

survey, and the subsequent statistical analysis conducted.

4.3.1 Questionnaire

The questionnaire used in both surveys was based on the works of Heilbrun & Gray (2001),

Jackson & O‟Sullivan (2002:327), Nieman (2003), Richardt & Wilson (2004), Holden (2004),

Visser (2005:160-162), Van Der Vyver & Du Plooy-Cilliers (2006:192), Quinn (2006:301),

Anheier & Isar (2008:3), Winner & Hetland (2008), Finkel (2009:13), Hutter & Throsby (2008)

and Hughes (2012). It was divided into three sections. Section A captured the contribution

factors, measuring 23 items on a five-point Likert scale, where 1 = not important at all, 2 = less

important, 3 = important, 4 = very important and 5 = extremely important. This section sought

the visitors‟ perception of the arts festivals‟ contribution to the arts, firstly on items concerning

the performing arts, followed by items concerning the visual arts. Section B captured the

136

perceptions of respondents according to their contribution to the arts when attending these

events, thereafter determining their actual personal involvement in the arts (for example,

perhaps they first indicated that they perceived themselves as art lovers, but subsequently

indicated they had purchased only a few tickets, if any at all). Section C then sought to capture

demographic details, such as gender, age, home province, favourite type of art form (dance,

music, theatre, film, painting, sculpting, photography, literature), favourite type of arts

(performing arts or visual arts), and level of exposure to the arts during childhood.

4.3.2 Survey and sampling

A destination-based survey was undertaken at Vryfees in Mbombela, Mpumalanga, from the 10

to 14 July 2012, and at Innibos, Bloemfontein, Free State, from the 27 June to 1 July 2012. The

festival grounds are divided into sections to facilitate and coordinate distribution of the

questionnaires. For example, distribution of the questionnaires took place at the production

venues, socialisation points and stall grounds. A stratified sampling method was therefore used,

where trained fieldworkers followed specific guidelines when handing out questionnaires to

different visitors. Fieldworkers approached the respondents and explained the goal of the

survey and the questionnaire to ensure that visitors participated willingly and responded frankly

and honestly. A total of 450 questionnaires were administered at Innibos, subsequently

collecting 407 completed questionnaires. Six hundred (600) were distributed at Vryfees, and

575 completed questionnaires collected, whereafter further analyses were conducted. In a

population of 100 000 (N), 398 respondents (n) would be seen as representative and result in a

95% level of confidence (Krejcie & Morgan, 1970:608). Therefore, since approximately a total of

100 000 (N) visitors attended Innibos and 30 000 (N) attended Vryfees, the number of

completed questionnaires (n = 407 for Innibos and n = 575 for Vryfees) was more than

adequate for further analysis. This formulation by Krejcie & Morgan (1970:610) is as follows:

where X2 = the desired confidence level; N = the population size; P = the population proportion;

and d = the degree of accuracy (expressed as a proportion), is as follows:

s = X2 N P (1 – P) / d2 (N – 1) + X2 P (1 – P)


The data was captured using Microsoft© Excel© and analysed using SPSS (SPSS Inc, 2012).

The data of the two festivals were kept separate. The analysis of data of the two festivals

(Innibos and Vryfees) was done in four stages. Firstly, the profiles of the festival visitors at

Innibos and Vryfees were determined. Secondly, a principal axis factor analysis, using an

Oblimin rotation with Kaiser normalisation, was performed on the 23 contribution items, to

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explain the variance/covariance structure of a set of variables through a few linear combinations

of these variables. The Kaiser-Meyer-Olkin measure of sampling adequacy was used to

determine whether the covariance matrix was suitable for factor analysis. Kaiser‟s criteria for the

extraction of all factors with eigenvalues larger than one (1) were used because they were

considered to explain a significant amount of variation in the data. All items with a factor loading

greater than 3.00 were considered as contributing to a factor, and items with loadings less than

3.00 as not correlating significantly with this factor (Steyn, 2000). Items that cross-loaded on two

factors, and where both had factor loadings greater than 3.00, were categorised in the factor

where interpretability was best. A reliability coefficient (Cronbach‟s Alpha) was computed for

each factor to estimate its internal consistency. All factors with a reliability coefficient above 0.6

were considered as acceptable in this study. Thirdly, t-tests were conducted to determine any

statistical significant differences between preference for performing arts and visual arts based

on personal involvement of the festivals visitors. Fourthly, frequencies of perceptual contribution

of Innibos and Vryfees to the arts were analysed.

4.4. RESULTS

The following section provides an overview of the profile of visitors who attend Innibos and

Vryfees, discusses the results of the factor analysis (arts festival contribution) and presents the

results of the t-tests that were conducted on the preference for performing arts and visual arts,

based on personal involvement and the frequencies of perceptual contribution of Innibos and

Vryfees to the arts.

4.4.1 Profile of respondents surveyed at Innibos and Vryfees

Table 4.1 shows that 28% of respondents at Innibos are in the age group 45 to 54, followed by

those in the age group 35 to 44 (23%) and by those in the age group 55 to 64 (10%). Twenty-

four percent (24%) of respondents at the Vryfees indicated that they were in the age group 25 to

34 years, followed 20% that were in the age group 35 to 44 years, and then by 17% that were

in the age group 45 to 54 years. The average age at Innibos was 45 years, with the average

age of respondents at Vryfees, 42 years. The favourite type of art as recorded by respondents

at Innibos is music (45%) and theatre (38%). This was similar to the results at Vryfees, where

respondents indicated that their favourite type of art is theatre (44%) and music (42%). This

correlates with the most preferred arts of the respondents at both these festivals, where 79% of

the respondents preferred the performing arts at Innibos and 81% at Vryfees, followed by the

21% of respondents preferring the visual arts at Innibos and the 19% preferring visual arts at

Vryfees (Table 1). As recorded in Table 4.1, 41% of respondents at Innibos had moderate

exposure to the arts during childhood, (45% at Vryfees), while 37% had little exposure at

138

Innibos with 29% of respondents at Vryfees. Twenty-two percent (22%) of respondents had a

great deal of exposure to the arts at Innibos, and 29% of respondents at Vryfees. The majority

of the respondents at Innobos are from Mpumalanga (54%), while 28% are from Gauteng,

followed by 5% from the North West provinces. The majority of respondents (82%) at Vryfees

are from the Free State, followed by those from Gauteng (4%) and then from the Western Cape,

Northern Cape and North West provinces (3% respectively) (Table 4.1).

An average of 0.52 books was purchased per person at Innibos, while an average of 0.72 books

was purchased at Vryfees, followed by 1.07 CDs and/or DVDs and 0.36 paintings at Innibos,

with 0.6 CDs and/or DVDs and 0.28 paintings at Vryfees. The respondents saw an average of

2.61 new artists (paid and unpaid performances) at Innibos, with 2.17 new artists being seen at

Vryfees. Respondents at Innibos attended an average of 0.51 dance productions and

purchased an average of 4.24 tickets per person. At Vryfees, respondents attended an average

of 0.3 dance productions, purchasing an average of 5.04 tickets per person. At Innibos,

respondents indicated that they are currently involved in 0.24 art associations/clubs, where

respondents at Vryfees indicated that they were involved in 0.26 art associations/clubs. Only a

small number of respondents visit other arts festivals during the year (1.29), while they have

visited Innibos, over its 9 years of existence, 3.69 times. Respondents at Vryfees visited 1.2

other festivals and have attended the Vryfees, since it was first hosted in 2001, 4.88 times.

Table 4.1: Profile of visitors to Innibos and Vryfees

VARIABLE INNIBOS (n=407) VRYFEES (n=575)

Age Percentage (%) Percentage (%)

<19 3% 3%

20-24 5% 10%

25-34 15% 24%

35-44 23% 20%

45-54 28% 17%

55-64 16% 16%

65> 10% 10%

Average age: 45 years 42 years

Province of origin

Percentage (%) Percentage (%)

Western Cape 2% 3%

Gauteng 28% 4%

Eastern Cape 1% 2%

Free State 3% 82%

139

Kwazulu-Natal 2% 1%

Mpumalanga 54% -

Northern Cape 0% 3%

North West 5% 3%

Limpopo 4% 1%

Type of arts preferred Percentage (%) Percentage (%)

Performing arts 79% 81%

Visual arts 21% 19%

Degree of arts exposure Percentage (%) Percentage (%)

Little 37% 29%

Moderate 41% 45%

A great deal 22% 26%

Favourite type of arts Percentage (%) Percentage (%)

Theatre 38% 44%

Dance 5% 3%

Music 45% 42%

Painting 5% 4%

Literature 2% 5%

Photography 2% 3%

Films 2% 1%

Sculpting 1% -

Personal involvement Averages Averages

Average books purchased 0.52 books 0.72 books

Average CDs, DVDs purchased 1.07 CDs / DVDs 0.6 CDs / DVDs

Average paintings, sculptures purchased 0.36 paintings 0.28 paintings

Average new artists see perform 2.61 artists 2.17 artists

Number of dance productions attended 0.51 productions 0.3 productions

Average number of tickets purchased for productions,

shows

4.24 tickets 5.04 tickets

Number of arts associations/clubs currently involved 0.24 art associations/clubs 0.26 art associations/clubs

Average visits to the KKNK festival 3.69 times 4.88 times

Average visits to other arts festivals 1.29 times 1.2 times

140

4.4.2 Results from Innibos

This section explores the perceived contribution of Innibos to the arts.

4.4.2.1 Results from the factor analyses (Innibos)

In the case of Innibos, using an Oblimin rotation with Kaiser Normalisation, the pattern matrix of

the principal axis factor analysis identified five factors that were labelled according to similar

characteristics (Table 4.2). All factors have relatively high reliability coefficients, ranging from

0.834 (the lowest) to 0.966 (the highest). Moreover, all items loaded on a factor had a loading

greater than 0.3, and the relatively high factor loadings indicate a reasonably high correlation

between the factors and their component items. The correlation patterns are relatively compact

and yield distinct and reliable factors (Field, 2005:640). Bartlett‟s test of sphericity reached

statistical significance (p < 0.001), supporting the factorability of the correlation matrix (Pallant,

2007:197).

Table 4.2: Factor analysis (Innibos)

FACTOR LABEL

Factor 1:

Visual arts

enhancement

Factor 2:

Performing

arts

enhancement

Factor 3:

Emotional

inspiration

Factor 4:

Performing

arts

exposure

Factor 5:

Visual arts

involvement

Innibos markets known and

new artists in the visual arts

0.872

Marketing of Innibos makes

people more aware of the

South African art and literature

in general

0.843

Due to Innibos, there is a




enter the market

0.777

Innibos promotes the image of



South Africa

0.764

Innibos brings networking


0.752

Innibos‟s financial support


arts

0.749

141

Innibos promotes research in

the visual arts

0.746

Due to Innibos, the number

and variety of works increased

in South Africa

0.740




and literature

0.708

Innibos improves people's


arts

0.669

Innibos develops infrastructure

for the exhibition of visual art

0.588

Innibos creates a platform for



art books

0.561


at Innibos create a quality


the festival

0.535

Innibos enhances the quality

of painters, sculptors,


0.501

Innibos contributes to




0.462

Innibos contributes to more



dance and music industry.

0.786


at Innibos create a quality


during the festival

0.778

Innibos contributes to an



productions.

0.769

Innibos motivates people to

attend more music, dance and

theatre productions

0.739

142


growth in CD /DVD sales of

music, dance and theatre

productions

0.738

The marketing of Innibos

makes people more aware of


general

0.687

Innibos contributes to a more



music industry.

0.682

Innibos improves people's

knowledge about the

performing arts

0.651

Innibos contributes to the



0.631

Innibos promotes the image of

the performing arts (music,

dance, theatre) in South Africa

0.664

Innibos‟s selection criteria



0.648

Innibos markets known and


arts

0.598

Innibos brings about network


artists

0.597

Innibos betters the quality of


0.549

Innibos‟s financial support


productions

0.436

Innibos develops infrastructure

for theatre, dance and music

productions

0.403

Innibos influences people to

join arts associations (for

example, dance and theatre

groups)

0.756

Innibos inspires people to


singers

0.695

143

Innibos inspires people to



0.532

The existence of Innibos leads

to the development of other

arts festivals

0.788


growth in the number of artists,

dancers and singers that entre

the market

0.634

Innibos contributes to a growth

in the production of

theatre/music CDs and DVDs

0.605

Due to Innibos, the number

and variety of productions in

South Africa increased

0.537


buy more paintings


0.758

Innibos creates more work



hers/writers)

0.739

Innibos contributes to a




0.728

Due to Innibos, more people

has a financial input in the

visual arts

0.693


buy more books

0.525

Innibos influences people to

join art associations (for

example, book clubs,

photography clubs)

0.464

FACTOR LABEL

Factor 1:

Visual arts

enhancement

Factor 2:

Performing

arts

enhancement

Factor 3:

Emotional

inspiration

Factor 4:

Performing

arts

exposure

Factor 5:

Visual arts

involvement

Cronbach’s Alpha .966 .954 .834 .838 .913

Mean Value 3.65 4.03 3.28 3.75 3.43

144

Factor scores were calculated as the average of all items contributing to a specific factor in

order to interpret them on the original five-point Likert scale of measurement. As Table 4.2

shows, the following contributions were identified: Visual arts enhancement (Factor 1),

Performing arts enhancement (Factor 2), Emotional inspiration (Factor 3), Performing arts

exposure (Factor 4) and Visual arts involvement (Factor 5). Performing arts enhancement

(Factor 2) obtained the highest mean score (4.03), and was considered the most important

contribution of respondents attending Innibos, with a reliability coefficient of 0.954. Performing

arts exposure (Factor 4) had the second highest mean score (3.75), followed by Visual arts

enhancement (Factor 1) (mean = 3.72) and Visual arts involvement (Factor 5) (mean = 3.67).

Emotional inspiration (Factor 3) had the lowest mean score (3.28) and was rated as the least

important contribution.

4.4.2.2 Perceived contribution of Innibos‟s contribution to the arts

Respondents at Innibos perceived that the festival contributes to the arts in certain areas more

than it does to others. According to Table 4.3, the respondents perceived that Innibos makes

the arts more accessible (98%), that the festival creates a greater awareness of the arts (86%),

that it promotes all forms of art to an equal degree (84%) and that the general quality of art at

the festival has improved (83%)

Table 4.3: Perception of Innibos’s contribution to the arts

Unfortunately, respondents indicated in Table 4.3, that they perceived Innibos as contributing

less effectively to some of the aspects concerning the arts. They perceived Innibos as

contributing in lesser extent to the inspiration of visitors to participate in the arts (45%), that the

respondents did not spend money on art specifically during their visit at the festival (33%), and

VISITORS’ PERCEPTION OF INNIBOS’ CONTRIBUTION TO THE ARTS YES NO

Innibos promotes all art forms on an equal level 84% 16%

Innibos makes the arts more accessible 98% 2%

Innibos inspires visitors to practise some form of the arts 55% 45%

Innibos improves visitors‟ knowledge about the arts 81% 19%

The quality of art at Innibos improved 83% 17%

Innibos creates a greater awareness to the arts 86% 14%

The visitors experiences a greater variety of the arts at this year‟s festival compared to

previous festivals 73% 27%

Visitors specifically spend money on the arts at this year‟s festival 67% 33%

Visitors consider themselves to be art lovers 81% 19%

145

that the festival contributed less effectively to providing a larger amount of art at this year‟s

festival when compared to previous years (27%).

4.4.2.3 Comparison of personal arts involvement to preference for the performing arts or the

visual arts of respondents at Innibos

T-tests were conducted to test for significant statistical differences in the mean values of

different arts products and activities purchased, comparing those respondents preferring the

performing arts and those preferring the visual arts. Although Table 4.4 indicates no significant

statistical differences between the mean values of personal involvement between the visitors

preferring the performing arts and those preferring the visual arts. However, there was a

moderate statistical significant difference in terms of ticket purchase in arts involvement, with a

P-value of .007.

Table 4.4: T-test between preferences for performing or visual arts based on personal involvement

INNIBOS

Arts Performing arts (n=284) Visual arts (n=78) F-value P-value

Means Std Dev Means Std Dev

Books 0.482 1.24 0.449 1.04 .244 .622

CDs DVDs 1.039 1.24 .821 1.826 1.076 .300

Paintings .275 2.281 .397 1.121 3.549 .060

New artists 2.916 .926 2.641 4.39 .115 .735

Dance 0.556 4.486 .449 1.664 .560 .455

Tickets 4.954 1.7 2.256 3.54 7.432 .007

Clubs 0.342 5.659 .115 .322 6.306 .012

Attended 3.824 3.197 3.462 3.202 .007 .934

Other 1.183 1.676 1.577 2.948 5.598 .019

4.4.3 Results from Vryfees

The following section explores the contribution of Vryfees to the arts.

4.4.3.1 Results from the factor analyses (Vryfees)

The factor analysis (Pattern Matrix) identified five contribution factors (Table 4.5) that were

labelled according to similar characteristics. All contribution factors had relatively high reliability

146

coefficients ranging, respectively, from 0.44 (the lowest) to 0.82 (the highest). Moreover, all

items loaded on a factor with loadings greater than 3.00. Relatively high factor loadings indicate

a reasonably high correlation between the delineated factors and their individual items. Any

items that cross-loaded on two factors with factor loadings greater than 3.00 were categorised

in the factor where interpretability was best.

Table 4.5: Factor analysis (Vryfees)

FACTOR LABEL

Factor 1:

Visual arts

enhancement

Factor 2:

Performing

arts

enhancement

Factor 3:

Performing

arts

exposure

Factor 4:

Emotional

inspiration

Factor 5:

Visual arts

involvement

Vryfees markets known and

new artists in the visual arts

0.818

Vryfees brings networking


0.793

Due to Vryfees, the number

and variety of works increased

in South Africa

0.791

Vryfees develops

infrastructure for the exhibition

of visual art

0.760

Due to Vryfees, there is a




enter the market

0.756




and literature

0.755

Vryfees‟s financial support


arts

0.739

Marketing of Vryfees makes

people more aware of the

South African art and literature

in general

0.721

Vryfees promotes the image of



South Africa

0.690

Vryfees improves people's


0.646

147

arts

Vryfees contribute to




0.622

Vryfees enhances the quality

of painters, sculptors,


0.606

Vryfees motivates people to

attend more music, dance and

theatre productions

0.749

Vryfees contribute to an



productions

0.745


at Vryfees create a quality


during the festival

0.730

The marketing of Vryfees

makes people more aware of


general

0.692

Vryfees markets known and


arts

0.669

Vryfees promotes the image of

the performing arts (music,

dance, theatre) in South Africa

0.651

Vryfees contributes to more



dance and music industry

0.605


growth in CD /DVD sales of

music, dance and theatre

productions

0.578

Vryfees contributes to the



0.572

Vryfees‟s selection criteria



0.566

Vryfees improves people's

knowledge about the

0.519

148

performing arts

Vryfees brings about network


artists

0.484

Vryfees contributes to a more



music industry.

0.458

Vryfees betters the quality of


0.458

The existence of Vryfees leads

to the development of other

arts festivals

0.735

Vryfees contributes to a

growth in the production of


0.656


growth in the number of artists,

dancers and singers that entre

the market

0.635

Vryfees‟s financial support


productions

0.551

Vryfees develops

infrastructure for theatre,

dance and music productions

0.500

Due to Vryfees, the number

and variety of productions in

South Africa increased

0.494

Vryfees influences people to

join arts associations (for


groups)

0.698

Vryfees inspires people to


singers

0.683

Vryfees influences people to

join art associations (for


photography clubs)

0.638

Vryfees inspires people to



0.583


buy more paintings

0.606

149


Vryfees creates more work



hers/writers)

0.580

Vryfees contributes to a




0.574


buy more books

0.557


at Vryfees create a quality


the festival

0.551

Due to Vryfees, more people

has a financial input in the

visual arts

0.463

Vryfees creates a platform for



art books

0.435

FACTOR LABEL

Factor 1:

Visual arts

enhancement

Factor 2:

Performing

arts

enhancement

Factor 3:

Performing

arts

exposure

Factor 4:

Emotional

inspiration

Factor 5:

Visual arts

involvement

Cronbach’s Alpha .959 .932 .887 .825 .878

Mean Value 3.62 4.08 3.67 3.23 3.58

Factor scores for the contribution items were calculated as the averages of all items contributing

to a specific factor so that mean scores can be interpreted on the original 5-point Likert scale of

measurement (1 = totally disagree; 2 = do not agree; 3 = agree; 4 = agree to a more extent; and

5 = totally agree). As shown in Table 4.5, according to the mean, Performing arts enhancement

(Factor 2) was perceived to have the highest contribution for visitors and had the highest mean

value (4.08), with a reliability coefficient of 0.932. Performing arts exposure (Factor 3) had the

second highest mean value of 3.67, with a reliability coefficient of 0.887, followed by Visual arts

enhancement (Factor 1) with a mean value of 3.62 and a reliability coefficient of 0.959. Visual

arts involvement (Factor 5) had a mean value of 3.58 and a reliability coefficient of 0.878.

Emotional inspiration (Factor 4) received the lowest mean value of 3.23, with a reliability

coefficient of 0.825. It is therefore clear that visitors to Vryfees consider the festival as

contributing to the performing arts and the visual arts (Table 4.5).

150

4.4.3.2 Perceived contribution of Vryfees‟s contribution to the arts

Respondents considered Vryfees to be contributing to the arts (Table 4.6) in the senses that the

festival makes the arts more accessible to them (98%), that the festival creates a greater

awareness to arts (88%), that the quality of arts at the festival improved (87%), that the festival

promotes all art forms on an equal basis (84%), and that the festival improved the respondents

knowledge about the arts (83%).

Table 4.6: Perception of Vryfees’s contribution to the arts

Unfortunately, and as indicated in Table 4.6, the respondents viewed Vryfees as contributing to

the arts to a smaller extent when it comes to inspiring the respondents themselves to practise

some form of the arts (48%), to spend money specifically on the arts at this year‟s festival

(29%), to experience a greater variety of the arts at this year‟s festival when compared to

previous festivals (25%). These findings may be somewhat explained by noting that only 22% of

respondents considered themselves to be arts lovers (22%).

4.4.3.3 Comparison of personal arts involvement to preference for the performing arts or the

visual arts of respondents at Vryfees

T-tests were also employed to determine any significant statistical differences between the type

of arts products and activities the respondents purchased at the festival in terms of their arts

preference. The only significant, and quite surprising, statistical difference was found between

the amounts of paintings purchased between those who prefer the performing arts and those

preferring the visual arts. Respondents who prefer performing arts purchased more paintings

VISITOR PERCEPTION OF VRYFEES CONTRIBUTION TO THE ARTS YES NO

Vryfees promotes all art forms on an equal level 84% 16%

Vryfees makes the arts more accessible 98% 2%

Vryfees inspires the visitors to practise some form of the arts 52% 48%

Vryfees improves the visitors‟ knowledge about the arts 83% 17%

The quality of art at Vryfees improved 87% 13%

Vryfees creates a greater awareness to the arts 88% 12%

Visitors experienced a greater variety of the arts at this year‟s festival compared to

previous festivals

75% 25%

Visitors specifically spend money on the arts at this year‟s festival 71% 29%

Visitors consider themselves to be arts lovers 78% 22%

151

with a mean value of 0.309 than those preferring the visual arts, with a mean value of 0.140

(Table 4.7).

Table 4.7: T-test between preferences for performing or visual arts based on personal involvement

VRYFEES

Arts Performing arts (n=408) Visual arts (n=93) F-value P-value

Means Std Dev Means Std Dev

Books .814 1.764 .495 1.265 5.687 .017

CDs DVDs .667 1.345 .505 1.316 1.804 .180

Paintings 0.309* 2.813 0.140* .563 13.377 .000*

New artists 2.315 3.196 1.742 2.111 6.229 .013

Dance 0.324 1.051 .207 .719 3.182 .075

Tickets 6.047 7.818 3.000 3.956 11.241 .001

Clubs 0.255 0.948 0.301 1.699 .790 .374

Attended 5.248 3.836 4.204 3.792 .920 .338

Other 1.169 1.791 1.376 2.085 .634 .426

4.5 FINDINGS

The following findings indicate the contributions of the festivals and personal involvement of the

visitors to the arts. Firstly, the profiles of the visitors to Innibos and Vryfees are similar regarding

their average ages, arts preferences, arts exposure and favourite type of arts. This confirms

previous findings (Kruger, Scholtz, Saayman & Saayman, 2012:5,23).

Secondly, visitors to Innibos and Vryfees considered the festivals as contributing to both the

performing arts and the visual arts, as the mean values for all the contributing factors are above

3.00, as indicated on the 5-point Likert-scale. Studies done by Kruger et al. (2012:5,23) also

confirm this finding.

Thirdly, the visitors to Innibos perceived the festival as contributing the most to the Performing

arts enhancement (Factor 2). Performing arts exposure (Factor 4) was perceived as the second

highest, followed by Visual arts enhancement (Factor 1) and Visual arts involvement (Factor 5).

The Emotional inspiration (Factor 3) contribution of Innibos was perceived to contribute the least

to the arts. As in the case of Innibos, the visitors to Vryfees perceived the festival as contributing

to a great extent to the Performing arts enhancement (Factor 2), followed by Performing arts

exposure (Factor 3), Visual arts enhancement (Factor 1) and Visual arts involvement (Factor 5).

152

Vryfees was also perceived to contribute the least to the Emotional inspiration (Factor 4) of the

arts (Viviers, Botha, Slabbert, Seymour, Saayman & Saayman, 2012:56). The five factors

confirmed the findings of Page & Connell (2012:352), Hughes (2012:13), Koopman (2012),

Jonker et al. (2009:383), Finkel (2009:13), Anheier & Isar (2008:264), Kitshoff (2004:238),

Waterman (1998:58) and of Mitchell & Wall (1989).

Fourthly, the results of the personal arts involvement of visitors to the festivals further confirm

the results and factors from the factor analysis.

Fifthly, there were no statistically significant differences in terms of preferences for the

performing arts and the visual arts at either of these festivals. This is in contrast to a study done

by Heilbrun & Gray (2001:74, 182, 399) which indicated that the way the festival visitor

perceives the arts can be influenced by their preference or taste for a certain type of art. It can

thus be said that the market for the arts at the two festivals is homogeneous in relation to their

personal involvement in the arts (Kruger et al., 2012:5,23).

Sixthly, a moderate statistically significant difference was noted for Innibos, where the amount

of tickets purchased by respondents preferring the performing arts was more than the

respondents preferring the visual arts. This finding is somewhat confirmed by Swami et al.

(2010:855) who found that when a visitor prefers something, it might lead to future personal

involvement. Performing arts are arts activities, usually where the purchase of tickets needs to

be done in order to participate in the activity or to experience it (Zijlmans & Van Damme, 2008;

Heilbrun & Gray, 2001:4), thus leading to the higher ticket purchases of those who prefer the

performing arts.

Seventhly, a statistically significant difference regarding the Vryfees visitors preferring the

performing arts in that they purchased more paintings at the festival than did the visitors who

preferred the visual arts was found. It can be said that with exposure comes knowledge and

insight, leading to expert opinion (Tobias, 2004:110). In the case where visitors preferring the

visual arts purchased less paintings than those preferring the performing arts, it could possibly

be ascribed to them being more exposed over the years to these arts, making them more

knowledgeable, and having an expert opinion regarding the quality and type of arts work

(Tobias, 2004:110). Their decision to purchase a painting would then be influenced by previous

experience or current information on the artists or on painting technique, leading to the

purchase of, perhaps, greater quality and smaller quantity. This is in contrast to those who

prefer the performing arts and have decided to purchase a painting. With less expert opinion

and information concerning the painting, the visitors can be influenced to be personally involved

in purchasing more quantity rather than quality. It may also be due to the appreciation that the

153

younger market may have for the arts (such as art work), but do not necessarily have the

financial ability to purchase these products (DiMaggio & Mukhtar, 2004:176,177,183; Silva,

2006:150). Arts experts (Tobias, 2004:110), such as those visitors in the older market or with

more knowledge of the arts works are likely to be more selective in personal involvement in the

sense that they purchase fewer but more expensive items (Hughes, 2012:62,144; Tobias,

2004:110; Keaney, 2008:102; Dimaggio & Useem, 1978:185).

Eighthly, it is found that the preference for a type of art (either performing arts or visual arts)

does not influence the personal involvement of the visitors to the arts. This is in contrast to a

previous study done by Swami et al. (2010:855) which found that with preference comes

involvement.

Lastly, there is room for further arts involvement by visitors as the averages are relatively low,

especially in the case of involvement in arts associations and with arts product purchases such

as books, CDs and art work.

4.6 IMPLICATIONS

From the results and findings, the following can be identified.

Firstly, as the profiles of visitors to Innibos and Vryfees are similar, marketing efforts to the

markets can be the same. Marketing can increase the exposure levels of the arts to visitors,

which then can stimulate an arts preference for the performing arts, visual arts or both of them.

Secondly, although it is perceived by the respondents that both Innibos and Vryfees contribute

to the performing and visual arts, there is room for improvement as none of the contribution

factor loadings were above 4.00. In order to better the perceptions of these festival visitors, new

ways of presenting the arts should be implemented. Stricter quality requirements for arts

products and services need also be implemented. If productions and art works of high standard

are provided at the festivals, it will stimulate the artists to be more creative and innovative, thus

further contributing to the development and education of the arts. This might also lead to the

potential involvement of the visitors to the arts, as they know they will receive quality arts

products and services.

Thirdly, the visitors perceived both the festivals as contributing the most to the Performing arts

enhancement of the arts. The festivals must foster this positive perception by providing quality

music, dance and theatre production activities and visual arts products. This positive perception

is a good thing, as it will enable the festival to grow in the performing arts, to present new and

innovative ideas and activities to augment this positive perception.

154

Fourthly, emotional inspiration is perceived to be the lowest contribution of Innibos and Vryfees

to both the performing and the visual arts. This perception can be improved by making the

visitor‟s part of the festival and telling them what it provides. This could be encouraged by

offering arts competitions to the visitors, as well as by giving them the opportunity to participate

in theatre and street productions. Arts workshops can also be introduced to better the skill and

knowledge of the visitors.

Fifthly, a preference for the performing arts or the visual arts had no influence on personal arts

involvement. Marketing of these arts as an effort to make the visitors more aware of them or

greater exposure to the visitor market at the festivals can be the same at both festivals as these

markets are homogeneous. Personal arts involvement can be improved where the arts are

more exposed to the visitors, for example, book and art work exhibitions can be placed in the

centre of the festival grounds or music, dance and theatre production CDs and DVDs can be

present at the production site. Arts packages can be implemented for the festival. These

packages can provide the visitors an extra arts benefit when they purchase a particular arts

product. For example, with the purchase of a painting, the buyer can get a special offer when

purchasing tickets for a theatre production or with the purchase of more than 10 production

tickets, the buyer receives arts work by new artists.

Sixthly, festival visitors who purchased the most tickets at Innibos were those who preferred the

performing arts. In order to improve personal involvement in ticket sales of those preferring the

visual arts, the festival can market the performing arts at visual arts exhibition halls and venues

by, for example, handing out posters and pamphlets or showing pre-recorded production

extracts at these venues. This might stimulate performing arts ticket buying behaviour of visitors

claiming to prefer the visual arts. As the visitors who prefer performing arts purchased the most

paintings, more arts work can be brought to the performing arts venues and placed on sale.

With more exposure to these visitors, it can lead to greater involvement. Quality arts work can

be presented at these venues to stimulate future purchase involvement of those who prefer the

visual arts when they attend a production.

Seventhly, festival visitors at Vryfees who purchased the most paintings were those who

preferred the performing arts. Speeches and workshops on the visual arts at the festival can

better the knowledge of visitors to these arts, so they can make future purchase decisions

based on increased knowledge of, and exposure to, the arts, as in the case of visitors preferring

visual arts who buy quality arts works.

155

Lastly, there are several ways in improving personal involvement in the arts. To augment

personal involvement in the participation in arts associations, the festival can introduce

programs or arts clubs/organisations to the festival program. Community members can take part

in these associations. Arts festival associations can be responsible for the planning and

development of the festival, for the quality selection of music, dance and theatre productions

and for arts workshops during and outside the festival period. By improving the personal

involvement in the purchase of books, CDs and artworks, the festival can market these art

works and activities at the festival and position them where the most visitors, the visitors most

likely to be buyers, are to be found on the festival grounds.

4.7 CONCLUSION

This chapter (Article 2) aimed to explore arts festival contribution through reviewing the

literature base and presenting the findings of an exploratory study of arts contribution and

personal involvement within two arts festivals. The literature review revealed previous festival

contribution research, particularly in relation to personal involvement approaches through

exploring the concept of perception.

The arts festivals in this chapter (Article 2) are perceived to contribute to the arts, as they

stimulate the personal involvement of festival visitors in the performing and visual arts, no

matter their preferences. However, further research is required in order to investigate

contribution practise relating to personal involvement in a wider sample of arts festivals, in other

sizes and types of festivals and events, and to fully understand the effectiveness of involvement

contribution evaluation.

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163

CHAPTER 5

ARTS FESTIVALS OR SOCIAL BAZARS? THE PERCEIVED CONTRIBUTION OF SOUTH

AFRICAN ARTS FESTIVALS TO THE ARTS

“There is no greater calling than to serve your fellow men.

There is no greater contribution than to help the weak.

There is no greater satisfaction than to have done it well.”

Walter Reuther


164

ARTS FESTIVALS OR SOCIAL BAZARS? THE PERCEIVED CONTRIBUTION OF SOUTH

AFRICAN ARTS FESTIVALS TO THE ARTS

ABSTRACT

There has been a remarkable rise in the number of Afrikaans arts festivals in South Africa

subsequent to the apartheid times, where the purpose of arts festival development was to keep

the arts alive. The outcomes of such festivals, past and present, yet remain little understood,

particularly concerning the arts festivals‟ contribution to the arts. The aim of this chapter (Article

3) is thus to determine the contribution of three Afrikaans arts festivals, the KKNK, Innibos and

Vryfees, to the arts as perceived by the festival visitors. This was undertaken to determine

whether arts festivals still contribute to the arts, even as they take on the role of socialisation for

competitive advantage and target number attendance in post-apartheid times. Understanding of

their contributions will enable the development of effective strategies and festival programmes

designed to contribute to the arts. The three festivals were compared in terms of their perceived

contribution where differences were analysed and areas that lack contribution were identified.

To achieve the goal, questionnaire surveys were conducted, after which an exploratory factor

analysis was performed to determine the perceived contribution factors at the arts festivals.

ANOVAs were then conducted to determine any statistically significant differences between the

festivals in terms of their contribution to the performing arts and the visual arts. The results of

this study indicate that the three festivals‟ contributions varied in terms of the extent, type and

levels of contribution to the arts they presented. Nevertheless, the results confirm that visitors to

Afrikaans arts festivals in South Africa perceive them as contributing to the arts. Marketing,

programming and terrain planning recommendations to effectively increase arts contribution at

these three festivals can now be made. Examining arts festivals based on their perceived

contribution has, therefore, proved useful to comprehensively evaluate these festivals and

particularly to determine their specific contribution to all types of arts.

Key words: Arts festival, contribution, perception, arts, KKNK, Innibos, Vryfees

165

5.1 INTRODUCTION

The arts festival phenomenon has long been given tremendous attention by researchers

(Kruger & Petzer, 2008:114; Lee, Lee & Wicks, 2004:61; Korza & Magie, 1989). Since the first

established festivals in early times, they were distinguished by their use of arts, such as music

and drama (Dunjic, 2011:15,16; Anheier & Isar, 2008:260; Allen, O‟Toole, Harris & McDonnell,

2012:5; Hauptfleisch, 2004:292; Hauptfleisch, 2001:169; Faulkner, Moscardo & Laws,

2001:137). This is still true of the modern arts festival, which now flourish as independent artistic

enterprises (Waterman, 1998:57; Ivanovic, 2008:84; Dunjic, 2011:16), embracing all genres of

arts (Dunjic, 2011:19). Extensive research has led to some understanding of an arts festival

where these events can generate several benefits to the celebrated product (Quinn, 2005;

2006; Yoon, Lee & Lee, 2010:335; Yan, Zhang & Li, 2012). These benefits are, however,

usually associated with economic (Anheier & Isar, 2008:260, Snowball & Antrobus, 2002) and

social benefits (Arcodia & Whitford, 2006; Quinn, 2005), ranging from the role the festival plays

in regeneration (for example, offering employment opportunities and additional revenue)

(Jackson & O‟Sullivan, 2002) to the festivals‟ abilities in image enhancement (for example,

quality) (see Quinn, 2005; Garcia, 2004:3082; Prentice & Andersen, 2003) and to the more

general arts awareness (for example, exposure to the arts) (Jonker, Saayman & De Klerk,

2009:383; Hughes, 2012:154). These benefits of the festival can all be regarded as important

factors to the product on offer, that is, to the arts.

5.2 BACKGROUND

Arts festivals have an interesting history in South Africa, where the country is currently

celebrating 18 years of democracy (Saayman & Saayman, 2006:574, Bain & Hauptfleisch,

2001). The reason why arts festivals were developed in South Africa was to celebrate culture

(Van Niekerk & Coetzee, 2011:349). In pre-apartheid times, much was done by the government

to ensure the livelihood and survival of the Afrikaans arts. This was done through the

establishment of several regional councils (Bain & Hauptfleisch, 2001:11), for example, TRUK

(Transvaalse Raad vir Uitvoerende Kunste / “PACT - Performing arts Council of the Transvaal”)

(TRUK – ESAT, 2012), SUKOVS (Streeksraad vir die Uitvoerende Kunste van die Oranje

Vrystaat/ “PACOFS - Performing Arts Council of the Orange Free State”) (SUKOVS – ESAT,

2012) and KRUIK (Kaaplandse Raad vir Uitvoerende Kunste/ “CAPAB - Cape Performing Arts

Board”) (CAPAB – ESAT, 2012), all of which encouraged creative initiatives, thus ensuring the

livelihood of the Afrikaans arts in different regions throughout the country. Within each of their

regions, these boards or councils founded theatre associations and created productions for the

communities to enjoy (TRUK – ESAT, 2012; SUKOVS – ESAT, 2012; CAPAB – ESAT, 2012).

After 1994, domestic political changes and subsequent budgetary cuts from national

166

government, led to the end of these associations (Saayman & Saayman, 2006:574; Bain &

Hauptfleisch, 2001:14). Thereafter, an on-going hunger for the arts manifested itself among the

Afrikaans-speaking people (InnibosKunstefees, 2012), where the Afrikaans speaking population

bagan to fear the existance of their language and culture in the “new” South Africa (Van Niekerk

& Coetzee, 2011:349). Artists also had to find some means to survive (Saayman & Saayman,

2006:574). The only solution at the time was to organise arts festivals. Since then, there have

been several new initiatives, for example, the News 24 arts festival initiative (Vryfees, 2012), to

create a platform for festival development, focusing on the enhancement and survival of the

arts. Thus, a critical motive for the establishment and existence of post-apartheid arts festivals

was to keep the Afrikaans arts alive (KKNK, 2012; Vryfees, 2012; InnibosKunstefees, 2012).

The first of these established Afrikaans arts festivals, was the Klein Karoo National Arts Festival

(KKNK). It was established in 1994 (Van der Vyver & du Plooy-Cilliers, 2006:192; Van Niekerk

& Coetzee, 2011:349), at Oudtshoorn in the Western Cape. The festival was to serve two main

purposes: firstly, to establish a cultural and linguistic outlet for Afrikaans-speaking people of all

groups and races in a post-apartheid South Africa; and secondly, to give the host community a

financial boost by using the festival as a tourism attraction (Kitshoff, 2004:237). Today, the

expanded aims of KKNK are to promote the Afrikaans language and its associated cultural

achievements (Van der Vyver & du Plooy-Cilliers, 2006:193; Van Niekerk & Coetzee,

2011:349); to promote excellence in the arts; to provide access to the arts; and to develop

artists, festival attendees and entrepreneurs (KKNK, 2012; Kruger, Saayman & Ellis, 2010:80).

Shortly after the KKNK was initiated, the establishment of the Aardklop National Arts Festival

followed in 1998 (Van Niekerk & Coetzee, 2011:350). This festival is annually held at

Potchefstroom in the North West Province (Aardklop, 2012). The mission of Aardklop is to be a

trend-setter, providing access and sustainability to the arts through being a quality arts festival

(Aardklop, 2012). This is done by the provision of new and exciting productions, yet still

focusing on entertainment. Subsequent to these two festivals, the capital city of Free State,

Bloemfontein, first hosted the Volksblad Arts Festival (now known as the Vryfees) in 2001 (Van

Niekerk & Coetzee, 2011:350). Vryfees sets out to develop local talent and to create

opportunities for artists to perform together at the productions the festival offers; to create work

in all disciplines in the arts industry; to promote a love for reading and literature; and to promote

the interest of the community in the arts (Vryfees, 2012). The Innibos Lowveld National Arts

Festival was then established in 2003 (Van Niekerk & Coetzee, 2011:350), and in a short nine

years has grown to an attendance of almost 90,000 visitors annually (Kruger & Saayman,

2012:148; Pissoort & Saayman, 2007:258). This festival now includes more than 60 theatre and

music productions and art exhibitions at 14 different venues in and around the town of

Mbombela (Nelspruit), Mpumalanga, making a significant contribution to the development,

167

participation and awareness of the arts (InnibosKunstefees, 2012; Kruger & Saayman,

2012:148).

Each of these festivals is now well-established. They are very popular arts festivals, providing

unique arts programs and experiences annually for thousands of festival visitors to enjoy

(Kruger & Saayman, 2012:147). According to Hauptfleisch (2001:169), these festivals have

played a distinctive part in the history of dance, drama and music in the country, re-established

for the need for celebration and the maintaining of the cultural heritage of Afrikaans-speaking

South Africans (Van Niekerk & Coetzee, 2011:350). Kruger (2009:15) and the festival managers

of Innibos (2012) state that the festivals can be seen as enhancing the arts through the medium

of the Afrikaans language. It is clear that these four festivals have laid a firm foundation, and

have earned reputations for excellence in the arts. They created exposure to the arts and

simultaneously provided the festival attendee with the opportunity to enjoy the arts through

accessibility to quality arts products and/or arts works, through interaction and participation

(KKNK, 2012; Vryfees, 2012; InnibosKunstefees, 2012). Arts festivals can be seen as one of the

most prominent features of the arts and theatre scenes in South Africa (Hauptfleisch,

2001:169).

From these small beginnings, festivals boomed, with more than 400 festivals of various kinds,

reaping the associated benefits and further contributing to the arts (Kruger & Saayman,

2012:147). With the introduction of a plethora of new festivals on the festival calendar (for

example, the Tekkiefees, Bieliemielie Arts Festival and the Gariepfees Arts Festival, to offer just

three examples) (Kruger & Saayman, 2012:147,148; Dunjic, 2011:22), the apparently

uncontrolled growth led to cause for concern (Van Zyl & Strydom, 2007:121).

5.3 PROBLEM STATEMENT

Competition began to rage between these festivals (Van Niekerk & Coetzee, 2011:348,351) to

determine pre-eminence in terms of economic success, visitor numbers and popularity. By

aiming to gain competitive advantage and to cater for a wide range of people, the arts festivals

somehow lost their focus on the arts and began to divide their attention between the arts and

entertainment (Finkel, 2009:3; Dunjic, 2011:25). Emphasis was not placed only on the arts, but

also on shopping (at the stalls), amusement parks and socialisation points (for example, beer

tents). According to Quinn (2006:300; 2005:999), the arts festival may, to some extent, lose its

initial purpose (livelihood of arts) and direction by adopting this approach. This view is

supported by Dunjic (2011:25), as this loss of focus is already evidenced by the decline of ticket

sales of arts and theatre productions at these festivals (Kruger, Scholtz, Saayman & Saayman,

2012:1,10,11). Although visitor numbers may increase, the attendees are not necessarily

168

involved with the arts (Kruger et al., 2012:1, 17; Dunjic, 2011:25), thus raising the questions

whether or not the main reason for attendance is still about the arts or has the focus shifted to

social, economic and other reasons? Perhaps this places the festivals in the same predicament

as that experienced during the immediate post-apartheid period where the existence of the arts

were threatened?

Contribution to the arts can therefore be viewed as a vital element, where staying focused on

the original purpose of these arts festivals is recalled. Thus, the purpose of this research is to

determine, from the perspectives of festival visitors, whether South African arts festivals still

contribute to the arts and whether certain arts festivals contribute more to the arts than others

do; if so, to which art forms do they contribute the most. Answers to these questions may

identify possible areas that no longer make a contribution. To seek answers to these questions,

three dominant Afrikaans Arts festivals, that together laid the foundation for arts contributions,

were selected, thus accommodating differing geographical locations (Vryfees = central, KKNK =

South and Innibos = North), varying lengths of existence ages (KKNK = 18 years, Vryfees = 12

years and Innibos = 9 years) and differing sizes of festivals (KKNK= large, Vryfees = medium

and Innibos = small).

Map 5.1: Geographic location of the KKNK, Innibos and Vryfees in South Africa



In this section, the arts festival itself, the arts it represents and its contributions to these arts as

identified by Heilbrun & Gray (2001), Jackson & O‟Sullivan (2002:327), Nieman (2003), Richardt

& Wilson (2004), Holden (2004), Visser (2005:160-162), Van Der Vyver & Du Plooy-Cilliers

169

(2006:192), Quinn (2006:301), Anheier & Isar (2008:3), Hutter & Throsby (2008), Winner &

Hetland (2008), Finkel (2009:13), Dunjic (2011:20) and Hughes (2012), are addressed (see

Table 5.1).

It is commonly understood that festivals derived from the root of the word „feast‟ (Yeoman,

Robertson, Ali-Knight, Drummond & McMahon-Beattie, 2012:33), which implies a certain time of

celebratory use (Quinn, 2006:289; Falassi, 1987:1). This “celebration” is evident in the definition

of arts festivals, where they are identified as an event celebrating a variety of arts forms and

genres that can be once off or reoccurring (Inkei, 2005:6; Williams & Bowdin, 2007:306; Kruger

& Petzer, 2008:113; Dunjic, 2011:21). Farlex (2012), Falassi (1987:1) and Waterman (1998:59)

each indicate that arts festivals are cultural events that consist of a series of performances of

works of fine arts, often devoted to a single artist or genre and infused with generic gaiety,

conviviality and cheerfulness. The arts festival, per se, has been exhaustively researched in the

past and still seems to receive significant attention from academics around the world (Saayman

& Rossouw, 2011; Kruger, Saayman & Ellis, 2011; Quinn, 2006; Rolfe, 1992; Korza & Magie,

1989). Arts festivals were designed to display the community‟s wealth, skill and attractiveness

through dancing and singing, entertaining their hosts with gifts of food, craft, music and dance,

thus beginning a two-way exchange of cultural interests and craft skills (Faulkner et al.,

2001:137). The so-called arts festivals owe their establishment to the desire to grant recognition

to the artistic or intellectual contributions of a composer or artist, or to a specific period in the

development of a particular art such as music, or to a distinctive musical genre (Farlex, 2012;

Waterman, 1998:59; Falassi, 1987:1). Inkei (2005:6) suggests that an arts festival must present

over a short period of time (usually between three days and four weeks) a variety of works

created or produced by other professional organisations or artists working in diverse artistic

disciplines, such as performing arts and visual arts. The principal objective of arts festivals can

thus clearly be identified, as they function to assemble artists and public over a short period,

focusing on performance where artists and the visitors alike can enjoy the fruits of concentrated

art work (Waterman, 1998:59; Dunjic, 2011:21). As previously discussed, the arts festival is built

around the different art forms (Inkei, 2005:6).

The arts can be taken to include all forms of traditional dance, drama, music, music theatre,

visual arts, crafts, design, written and oral literature, each of which can serve as the means for

individual or collective creativity and expression through performance, execution, presentation,

exhibition, transmission and study (White Paper, 1996:6). As indicated by this definition, the arts

can be neatly divided between performing arts and visual arts (Heilbrun & Gray, 2001:4). Music,

dance and theatre productions can all be understood as performing arts. The visual arts include

painting, sculpting and literature. They are coherent too in a different sense, in that the subjects

are jointly involved in making, buying and selling, and displaying art objects (Heilbrun & Gray,

170

2001:5). The making of art has occupied a special position among human activities (Heilbrun &

Gray, 2001:3), and this is very evident in the hosting of arts festivals. These two arts genres are

commonly understood to be on any festivals‟ artistic program and may be illustrated as in Figure

5.1.

Figure 5.1: The arts


One of the reasons why arts festivals are so important is because of their contributions to the art

forms they present.

As noted, arts festivals have many different benefits arising from them (Hughes, 2012:154;

Jonker et al., 2009:383; Anheier & Isar, 2008:260; Arcodia & Whitford, 2006; Quinn, 2006;

Quinn, 2005; Garcia, 2004:3082; Prentice & Andersen, 2003; Snowball & Antrobus, 2002;

Jackson & O‟Sullivan, 2002). Benefits can perhaps be seen as contributing to something.

Therefore, these contributions of arts festivals can be seen as benefits when identifying different

aspects of an arts festival making contributions to the arts specifically. Unfortunately, as yet, few

researchers have focused on festivals in the particular context of the contribution debate

(Quinn, 2006:189). Nevertheless, and based on the work of Page & Connell (2012:352),

Koopman (2012), Hughes (2012:13), Jonker et al., (2009:383), Finkel (2009:13), Anheier & Isar

(2008:264), Kitshoff (2004:238), Waterman (1998:58), Rolfe (1992), and that of Mitchell & Wall

(1989), different contributions that have been associated with the arts festivals reveal

themselves (Table 5.1).

The arts

Performing arts

Live performances of plays,

opera, music, dance, shows, etc.

Visual arts

Paintings, sculptures, literature, crafts, photography

171

Table 5.1: Contributions of an arts festival

CONTRIBUTION THE ARTS REFERENCE


(Rolfe, 1992)

Skill improvement of artists (Page & Connell, 2012:352)

Improved knowledge about the arts (Finkel, 2009:4,14,18,19; Page &

Connell, 2012:352)

Promotes research within the arts (Quinn, 2005:931; Prentice &

Andersen, 2003:25)


(Quinn, 2006; Waterman, 2009:58)

Inspire people to become artists (Hughes, 2012:13; Finkel,

2009:13)

Encourages people to attend more

productions and/or exhibitions

(Finkel, 2009:13)

Encourages people to join art

associations

(Waterman, 1998:58)


Increase in ticket sales (Finkel, 2009:12)

Increase investment (Page & Connell, 2012:393)

Create employment opportunities (Rolfe, 1992; Mitchell & Wall,

1989)

Stable income/ increase revenue (Rolfe, 1992; Kitshoff, 2004:238)

Increased art product sales (Jonker et al., 2009:383)


(Prentice & Andersen, 2003)

Creates a platform for quality art

products and selections requirement

(Finkel, 2009:4,16,17,20)

Artists create quality experience (Liburd & Derkzen, 2009:137)

Quality skill improvement of artists (Quinn, 2006: 291,300)


Promotes the image of the arts (Page & Connell, 2012:393)

More awareness for productions

and/or art work in the country

(Hughes, 2012:154; Jonker et al.,

2009:383)

Markets artists (well-known and

new)

(Kitshoff, 2004:238; Koopman,

2012; Anheier & Isar, 2008:264)

Establish networking opportunities (Bonus & Ronte, 1997:112)

Growth and development

contribution

(Rolfe, 1992; Hauptfleisch, 2001:170;

Koopman, 2012)

Increased number and variety of

productions and/or art work

(Hughes, 2012:153; Anheier &

Isar, 2008:263)

Leads to the development of other

arts festivals


Increased production in arts

products

(Hughes, 2012:153)

Growing number of artists (Heilbrun & Gray, 2001:228;

Quinn, 2006:302)

Financial support increase

productions of the arts

(Faulkner et al., 2001:138)

Infrastructure development (Waterman, 1998:55; Hughes,

2012:94,171)


172

As indicated in Table 5.1, the term contribution can be sub-categorised to define different focus

areas. The first contribution of an arts festival is educational (Korza & Magie, 1989:3; Faulkner

et al., 2001:138; Heilbrun & Gray, 2001:229; Prentice & Andersen, 2003:25; Quinn, 2006; Allen

et al., 2012:50; Winner & Hetland, 2008; Anheier & Isar, 2008:8; Finkel, 2009; Dunjic, 2011;

Page & Connell, 2012:352). In general, education can be described by the terms „learn‟, „teach‟

and „mentor‟. This implies that the festival can be seen as a place for information exchange,

regarding the artist‟s knowledge of, and techniques in, the arts for skill improvement and

audience development (Page & Connell, 2012:352; Finkel, 2009:4,14,18,19; Anheier & Isar,

2008:8; Quinn, 2006:302; Heilbrun & Gray, 2001:229; Faulkner et al., 2001:138). The

educational contribution specifically addresses such areas as: skill improvement of artists (Page

& Connell, 2012:352); knowledge improvement about the arts (Finkel, 2009:4,14,18,19; Page &

Connell, 2012:352); and the promotion of research within the arts (Quinn, 2005:931; Prentice &

Andersen, 2003:25). The educational contribution is thus concerned in determining aspects

such as: skill development; knowledge transfer; and research promotion.

The second contribution, namely the emotional contribution (Waterman, 1989:55; Hughes,

2012:13; Heilbrun & Gray, 2001:228; Reeves, 2002:29,30,37; Axelsen, 2006; Schwarz & Tait,

2007; Finkel, 2009:13), is concerned with the terms inspiration and motivation. This is where the

arts festival enhances creativity and stimulates innovation, inspiring the visitor to pursue the arts

as a calling (or a hobby in addition to a full-time profession) (Hughes, 2012:13; Finkel, 2009:13),

when s/he participates in the arts (either in first-hand attendance at a live performance or

visiting an arts exhibition at the festival, or even joining an arts association of some kind)

(Hughes, 2012:13; Finkel, 2009:13; Quinn, 2006:302; Reeves, 2002:30; Heilbrun & Gray,

2001:228; Waterman, 1998:55). Aspects such as inspiration to become artists; encouragement

to attend more productions and/or exhibitions and in joining art associations are of importance

to the emotional contribution of the arts festival to the arts.

The festival can also be seen as contributing economically to the arts (Korza & Magie, 1989:3;

Mitchell & Wall, 1989:39; Rolfe, 1992; Heilbrun & Gray, 2001:227; Kitshoff, 2004:238; Saayman

& Saayman, 2004; Saayman & Saayman, 2006; Quinn, 2006:301; Anheier & Isar, 2008:3; Allen

et al, 2012:61; Snowball, 2010; Jonker et al., 2009:383; Finkel, 2009:12; Goeldner & Ritchie,

2009:81), where it is usually associated with income, revenue, regeneration and work

opportunities. The economical contribution of an arts festival can be seen as being where the

festival is supporting artistic life and activity, by creating additional work and income

opportunities for the artists when producing and selling their work (either where an artist is

performing in a production or painting for an exhibition). Sales of products and tickets,

investments and income are generally concerned topics of economic contribution (Hughes,

2012:153,154; Snowball, 2010; Quinn, 2006:301; Kitshoff, 2004:238; Heilbrun & Gray,

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2001:227). When contributing economically, the festival must closely examine aspects such as:

increased ticket sales; increased investment; employment opportunities created; stable income/

increase revenue; and increased art product sales.

The quality contribution (Korza & Magie, 1989:12,36; Reeves, 2002:37; Quinn, 2006:291,300;

Allen, O‟Toole, Harris & McDonnell, 2008:180; Finkel, 2009:20; Liburd & Derkzen, 2009:137) is

concerned with the measure of standards, where artists and their art work must maintain their

stance in the whole professional world, must remain unique and spectacular in content to avoid

the possibility of „losing their magic‟ when growth in the arts takes place too rapidly. The visitors

must leave satisfied with the arts (for example, the visitor must have an experience of high

quality in the arts. This can be achieved by the festival through the provision of high quality arts

productions). Standards of quality depend also on the skills of the artists, requiring that the arts

festival provides opportunities to the artist for developing and broadening their creative skills

(Hughes, 2012:156; Brown & Novak, 2007:50; Reeves, 2002:37; Faulkner et al., 2001:138;

Korza & Magie, 1989:12). The quality contribution of arts festivals must thus focus on selection

requirements; the creation of a platform for quality art products; the creation of a quality

experience; and quality skill improvement.

The arts festival markets these art forms (referring to the marketing contribution of arts festivals

(Korza & Magie, 1989:3; Bonus & Ronte, 1997:112; Nieman, 2003; Kitshoff, 2004:238; Richardt

& Wilson, 2004; Visser, 2005:162; Quinn, 2006:294; Van der Vyver & Du Plooy-Cilliers,

2006:192; Hutter & Throsby, 2008; Anheier & Isar, 2008:264; Jonker et al., 2009:383; Page &

Connell, 2009:393; Koopman, 2012; Hughes, 2012:154), in creating and broadening awareness

and exposure to the arts that are perhaps not commonly heard or seen, building network

opportunities for artists and the visitors and ultimately raising the profile of the arts as they

create local demand for the arts and other related services (Hughes, 2012:154; Jonker et al.,

2009:383; Hutter & Throsby, 2008; Anheier & Isar, 2008:3; Van Der Vyver & Du Plooy-Cilliers,

2006:192; Quinn, 2006:302; Visser, 2005:162; Kitshoff, 2004:238; Nieman, 2003). The term

“marketing” is thus similar in use to when reference is made to the awareness, exposure and

promotion of the arts. Marketing contributions must focus on the promotion of the image of the

arts, to creating greater arts awareness in the country, on the marketing of well-known and new

artists, and on the establishment of network opportunities.

All of the above contributions lead to the growth and development contribution (Waterman,

1998:55; Korza & Magie, 1989:3; Faulkner et al., 2001:138; Heilbrun & Gray, 2001:228;

Kitshoff, 2004:240; Visser, 2005:160; Quinn, 2006:302; Anheier & Isar, 2008:263; Saayman &

Rossouw, 2011:611; Koopman, 2012; Hughes, 2012:153). The educational, emotional,

economical, quality and marketing contributions of the arts festival, play a significant role in

174

keeping the arts alive. This must include development of artists and visitors and must further

create appreciation, awareness, involvement and interaction for a particular art form or activity.

This is also true for the development of arts infrastructure such as production venues and

exhibition halls. The arts festival thus encourages the continuance of productions and arts

exhibitions all year round (Hughes, 2012:94,155,171; Quinn, 2006:291,302; Waterman,

1998:55). Other criteria such as the increased number and variety of productions and/or art

work, the development of other arts festivals, perhaps the; increased production of arts

products, a growing number of artists, increased productions due to the availability of financial

support and infrastructure development are all important in evaluating the growth and

development contribution of arts festivals to the arts. These identified contributions are

important in evaluating the arts festivals‟ full contribution to the arts, thus focusing on performing

arts and visual arts in their fullest sense.

The next section will describe the method of research. The questionnaire and sampling method

will be explained first. This explanation will be followed by the findings and implications, and will

conclude with relevant recommendations for the managers of each of the individual arts

festivals. These results of the research will be beneficial to arts festival manager in that they will

provide an assessment for the festival visitor‟s perception of the festivals as they are seen to

contribute to the arts. This will thereafter aid in successful festival development and will aid

planning thus ensuring further contributions to the arts.

5.5. METHOD OF RESEARCH

A newly administered, structured questionnaire was used to collect the data at the three arts

festivals. This section describes the questionnaire, the sampling method, the survey and the

statistical analysis.

5.5.1 The questionnaire

The questionnaire was divided into three sections. Section A captured the contribution factors,

querying 23 items on a 5-point Likert scale, where 1 = do not agree; 2 = agree to a lesser

extent; 3 = agree; 4 = agree to a greater extent; and 5 = fully agree. The section on contribution

was based on the works of Page & Connell (2012:352), Koopman (2012), Hughes (2012:13),

Jonker et al., (2009:383), Finkel (2009:13), Anheier & Isar (2008:264), Kitshoff (2004:238),

Waterman (1998:58), Rolfe (1992) and Mitchell & Wall (1989). It was specifically adapted for

KKNK, Innibos and Vryfees research. Section B looked for information specific to the festival,

capturing the potential and actual buying behaviour of the respondents at the festival. Greater

awareness of the arts at the festival, saw new and well-known artists appearing, so influencing

175

the amount of CDs/DVDs bought or total ticket purchases. Section C captured the demographic

profile, including the gender, age, home province, preferred arts, favourite art form and level of

exposure during childhood of the festivals respondents.

5.5.2 Sampling and survey

Stratified sampling was applied at each of the KKNK, Innibos and Vryfees festivals. A total of

650 questionnaires were distributed at KKNK over the 8 days of the festival (31 March to 7 April

2012) in the Western Cape Province, providing 602 completed questionnaires to be included in

the analysis. For a population of 100 000 (N), 384 respondents (n) are seen as being

representative and result in a 95% level of confidence with a ±5% sampling error (Krejcie &

Morgan, 1970:608). The formula to calculate the appropriate sample size, according to Krejcie

& Morgan (1970:610), where X2 = the desired confidence level; N = the population size; P = the

population proportion; and d = the degree of accuracy (expressed as a proportion), is:

s = X2 N P (1 – P) / d2 (N – 1) + X2 P (1 – P)

That is, since approximately 100 000 (N) visitors attended the festival (KKNK, 2012), the

number of questionnaires completed was more than adequate.

Over the nine year span of the Innibos Arts Festival, hosted in the Mpumalanga Province, more

than 90 000 (N) visitors attended each year. With 450 questionnaires distributed over the 5 day

period of the festival (27 June to 1 July 2012) (Innibos, 2012), 407 completed questionnaires

were available for inclusion, again making the sample size sufficient according to Krejcie &

Morgan (1970:608). The Vryfees has experienced a rapid annual growth (in terms of ticket

sales) since its establishment in 2001, in the Free State Province, with 30 000 (N) annual

visitors. Six hundred (600) questionnaires were distributed during the 4 days at the festival (10

July to 14 July 2012), resulting in 575 completed questionnaires for data examination, once

more offering, according to Krejcie & Morgan (1970:608), a valid sample size with the

appropriate amount of questionnaires.

A destination-based survey was undertaken, where questionnaires were distributed evenly

throughout the various venues and the main festival grounds in Oudtshoorn (KKNK), Mbombela

(Nelspruit) (Innibos) and Bloemfontein (Vryfees), respectively. This ensured that all visitors at

the different festivals had an equal opportunity to participate in the survey. Respondents were

approached by fieldworkers who moved around in order to minimise bias, explaining the goal of

the survey and the questionnaire. This was done in order for willing participation and for frank

and honest responses from the respondents.

176


The analysis was completed in four stages, using Microsoft© Excel© and SPSS (SPSS Inc,

2012). The data from the three festivals were first kept separate to determine a general profile

of the respondents at each festival. This was the first stage. In the second stage, a principal axis

factor analysis was performed on the combined data set to determine the factors in general at

arts festivals in South Africa that contribute to the arts forms they present. All items with

loadings lower than 0.3 were not included in a factor (Steyn, 2000:1). Further, a reliability

coefficient (Cronbach‟s Alpha) was computed to estimate the internal consistency of each

factor. All factors with a reliability coefficient above 0.6 were considered as acceptable for this

study. In the third stage, the visitors‟ perceptions were analysed based on the identified

contributions discussed in literature by Page & Connell (2012:352), Hughes (2012:13),

Koopman (2012), Jonker et al., (2009:383), Finkel (2009:13), Anheier & Isar (2008:264),

Kitshoff (2004:238), Waterman (1998:58), Rolfe (1992), Mitchell & Wall (1989) and according to

the questionnaire design at each festival. This was done by means of ANOVAs (Analysis of

Variance) to investigate any statistically significant differences between the festivals concerning

the different items that contribute to the arts within each contribution. An ANOVA was also done

to determine any statistically significant differences between the levels of visitors‟ involvement

with the arts across the three festivals. The fourth stage was where the pooled data from the

three festivals were analysed and plotted on diagrams to determine the overall visitor

perceptions regarding the festivals‟ contribution to the arts. The results of these statistical

analyses will be discussed in the next section.

5.6 RESULTS

The results will firstly be discussed in terms of the general profile of the festival visitors at the

KKNK, Innibos and Vryfees, followed by the results of the factor analyses conducted on the

items indicating their contributions to the arts. Thereafter, the results from the ANOVAs will be

examined, where possible differences in the perceptions of visitors regarding the aspects

contributing to the arts differ across three arts festivals, as well as ANOVAs on actual

involvement of these visitors in the arts.

5.6.1 Profile of respondents at KKNK, Innibos and Vryfees

As seen in Table 5.2, the average age of respondents at KKNK is 48 years, followed by the

average age of respondents at Innibos (45 years) and then at Vryfees (42 years). Although

respondents at Vryfees are slightly younger than those of KKNK and Innibos, these festivals all

attract the middle-aged to older generation. The largest groups of visitors record that 82% of

177

respondents at Vryfees are from the Free State Province, followed by 59% of respondents at

the KKNK coming from the Western Cape Province and 54% of respondents at Innibos coming

from Mpumalanga. Clearly, the majority of respondents at each of the three festivals are based

in the province where each festival is held. When respondents were asked to indicate which

artform they preferred (that is, performing arts versus visual arts), the majority of respondents at

each festival indicated that they prefer the performing arts, with 84% of respondents at KKNK,

81% of respondents at Vryfees and 79% of respondents at Innibos. Respondents‟ indication of

their favourite type of art correlated with their preferred arts, as 51% of respondents at KKNK

indicated that theatre is their favourite type of art, followed by 45% of respondents at Innibos

and 44% of respondents at Vryfees preferring music. Respondents at the three festivals

recorded that 54% of respondents at Vryfees, followed by 43% of respondents at KKNK and

41% at Innibos had moderate exposure to the arts during childhood.

Table 5.2 indicates that an average of 1.15 books was purchased per person at KKNK, followed

by 0.72 books at Vryfees and 0.52 books at Innibos. The average CDs and/or DVDs purchased

at KKNK was by 1.19, whereas 1.07 CDs and/or DVDs was purchased at Innibos and 0.6 CDs

and/or DVDs at Vryfees. Respondents purchased an average of 0.36 paintings at Innibos,

followed by 0.28 paintings and/or sculptures at Vryfees and 0.24 paintings and/or sculptures at

KKNK. The respondents saw an average of 4.7 new artists (paid and unpaid performances) at

KKNK, while respondents at Innibos saw an average of 2.61 new artists perform, followed with

the respondents at Vryfees who saw 2.17 new artists perform. At KKNK, respondents attended

an average of 0.76 dance productions and purchased an average of 8.34 tickets per person.

Respondents at Innibos attended an average of 0.51 dance productions, followed by the

respondents at Vryfees who attended an average of 0.3 dance productions during their visit.

Respondents at Vryfees purchased an average of 5.04 tickets per person, whereas

respondents at Innibos purchased an average of 4.24 tickets per person. Respondents at KKNK

indicated that they are currently involved at an average of 0.37 art clubs or art associations,

followed by the respondents at Vryfees with an average of 0.26 art clubs or art associations,

and lastly, Innibos with an average of 0.24. The average repeat visits of respondents during

KKNK‟s 18 years of existence is 7.13 times, followed by the average repeat visits of

respondents at the 12 years of Vryfees‟s existence (4.88 times); and then by those visitors to

Innibos since its inception 9 years ago, who had an average of 3.69 visits. Respondents at

KKNK indicated that they visit an average of 1.54 other arts festivals. This was followed by

respondents at Innibos who visit an average of 1.29 other arts festivals, and lastly, by Vryfees

respondents who visited an average of 1.2 other arts festivals.

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Table 5.2: Profile of visitors to KKNK, Innibos and Vryfees

VARIABLE KKNK (n=602) INNIBOS (n=407) VRYFEES (n=575)

Age Percentage (%) Percentage (%) Percentage (%)

<19 6% 3% 3%

20-24 6% 5% 10%

25-34 10% 15% 24%

35-44 12% 23% 20%

45-54 25% 28% 17%

55-64 25% 16% 16%

65> 16% 10% 10%

Average age: 48 years 45 years 42 years

Province of origin Percentage (%) Percentage (%) Percentage (%)

Western Cape 59% 2% 3%

Gauteng 15% 28% 4%

Eastern Cape 14% 1% 2%

Free State 4% 3% 82%

Kwazulu-Natal 2% 2% 1%

Mpumalanga 1% 54% -

Northern Cape 3% 0% 3%

North West 1% 5% 3%

Limpopo 1% 4% 1%

Type of arts preferred Percentage (%) Percentage (%) Percentage (%)

Performing arts 84% 79% 81%

Visual arts 16% 21% 19%

Degree of arts exposure Percentage (%) Percentage (%) Percentage (%)

Little 37% 37% 29%

Moderate 43% 41% 45%

A great deal 20% 22% 26%

Favourite type of arts Percentage (%) Percentage (%) Percentage (%)

Theatre 51% 38% 44%

Dance 4% 5% 3%

Music 4% 45% 42%

Painting 4% 5% 4%

Literature 2% 2% 5%

179

Photography 2% 2% 3%

Films 2% 2% 1%

Sculpting 1% 1% -

Personal involvement Averages Averages Averages

Average books purchased 1.15 books 0.52 books 0.72 books

Average CDs, DVDs purchased 1.19 CDs / DVDs 1.07 CDs / DVDs 0.6 CDs / DVDs

Average paintings, sculptures

purchased

0.24 paintings /

sculptures

0.36 paintings /

sculptures

0.28 paintings /

sculptures

Average new artists see perform 4.7 artists 2.61 artists 2.17 artists

Number of dance productions

attended

0.76 productions 0.51 productions 0.3 productions

Average number of tickets

purchased for productions, shows

8.34 tickets 4.24 tickets 5.04 tickets

Number of arts associations/clubs

currently involved

0.37 art

associations/clubs

0.24 art

associations/clubs

0.26 art

associations/clubs

Average visits to the KKNK

festival

7.13 times 3.69 times 4.88 times

Average visits to other arts

festivals

1.54 times 1.29 times 1.2 times

5.6.2 Results from the factor analysis

An exploratory factor analysis was applied to determine the reliability of data from the results

obtained at the three festivals. As seen in Table 5.3, the factor analysis (Pattern Matrix)

identified 5 factors that were labelled according to similar characteristics from the loaded 23

items. These factors included Visual arts enhancement (Factor 1), Performing arts

enhancement (Factor 2), Emotional inspiration (Factor 3), Visual arts involvement (Factor 4) and

Performing arts exposure (Factor 5). The reliability of factors was determined by means of the

Cronbach‟s Alpha. All factors had relatively high reliability coefficients ranging from 0.78 (the

lowest) to 0.96 (the highest). Moreover, all items loaded on a factor with loading greater than

0.3 and the relatively high factor loadings indicate a reasonably high correlation between the

delineated factors and their individual items (Pallant, 2007:197).

180

Table 5.3: Factor analysis of KKNK, Innibos and Vryfees (combined data set)

FACTOR LABEL

Factor 1:

Visual arts

enhancement

Factor 2:

Performing

arts

enhancement

Factor 3:

Emotional

inspiration

Factor 4:

Performing

arts

exposure

Factor 5:

Visual arts

involvement

The festivals market known

and new artists in the visual

arts

0.833

Due to the festivals, the

number and variety of works

increased in South Africa

0.785

The festivals bring networking


0.776

Marketing of the festivals

make people more aware of

the South African art and

literature in general

0.771

Due to the festivals, there are




enter the market

0.763

The festivals promote the

image of the visual arts

(paintings, sculptures, photo

art, books) in South Africa

0.734




and literature

0.726

The festivals‟ financial support


arts

0.719

The festivals improve people‟s


arts

0.708

The festivals develop

infrastructure for the exhibition

of visual art

0.678

The festivals promote research

in the visual arts

0.624

The festivals contribute to the

development of the skills of


0.620

181


The festivals enhance the

quality of painters, sculptors,


0.543

The festivals create a platform



art books

0.408

The festivals contribute to an



productions

0.765


at the festivals create a quality


during the festival

0.752

The festivals contribute to

more employment

opportunities for individuals


music industry

0.741

The festivals inspire people to

visit more music, dance and

theatre productions

0.735

The festivals‟ selection criteria

contribute to quality music,


0.670

The festivals promotes the

image of the performing arts

0.669

The festivals contribute to the



0.653

The marketing of the festivals

make people more aware of


general

0.637

The festivals market known

and new artists in the

performing arts

0.634

The festivals improve people's

knowledge about the

performing arts

0.627

The festivals contribute to a

growth in the production of


0.626

182


more stable income for


dance and music industry

0.609

The festivals better the quality

of actors, singers and dancers

0.568

The festivals bring about

network opportunities for

performing artists

0.506

The festivals influence people



groups)

0.649



singers

0.619




0.416

The festivals lead to the

development of other festivals

0.821



artists, dancers and singers

that entre the market

0.658

Due to the festivals, the

number and variety of

productions in South Africa

increased

0.581

The festivals‟ financial support

contribute to the growth in

productions

0.459

Due to the festivals, more

people has a financial input in

the visual arts

0.713

The festivals motivate people

to buy more paintings


0.709





0.671

The festivals create more work



0.661

183

hers/writers)


to buy more books

0.599

The festivals influence people

to join art associations (for


photography clubs)

0.573


to visit more art exhibition, art

markets, craft stalls or book

exhibitions

0.489

FACTOR LABEL

Factor 1:

Visual arts

enhancement

Factor 2:

Performing

arts

enhancement

Factor 3:

Emotional

inspiration

Factor 4:

Performing

arts

exposure

Factor 5:

Visual arts

involvement

Cronbach’s Alpha 0.955 0.936 0.775 0.891 0.921

Mean Value 3.581 4.033 3.279 3.789 3.416

As seen in Table 5.3, Performing arts enhancement (Factor 2) has the highest mean value of

4.033, and was perceived as the most important arts contribution at the festivals. This was

followed by factor 4, Performing art exposure, with a mean value of 3.789. Factor 1, Visual arts

enhancement, has a mean value of 3.581, and Visual arts involvement (Factor 5) has a mean

value of 3.416. Factor 3, Emotional inspiration, has the lowest mean value of 3.279, meaning

that it is the least important perceived contribution to the arts at these festivals.

5.6.3 ANOVAs on perceived contribution to the arts

The following section indicates the extent of perceived contributions that each festival makes

regarding the factors previously identified in literature. This section of the results is based on the

perceived contributing factors of the questionnaire design where each of these factors is made

up of different items grouped together for the performing arts and the visual arts. A comparison

of the mean scores of the different items under each factor contributing to the performing arts

and the visual arts resulted in several findings. The mean scores were found to be statistically

significantly different at the p<0.05 level of significance regarding certain identified factors.

These are reported below.

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5.6.3.1 ANOVA: Educational contribution

Table 5.4: Educational contribution

PERFORMING ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

The festival contributes to the development

of actors, dancers and singers‟ skills.

3.96 3.95 4.06 2.453 .086

The festival improves people‟s knowledge

about the performing arts.

3.99 4.09 4.09 2.389 .092

The festival promotes research within the

performing arts.

3.69 3.79 3.66 2.381 .093

Perceived educational contribution to

performing arts: mean value (3.971)

3.88 3.94 3.94 1.169 0.311

VISUAL ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

The festival contributes to the development

of the skills of painters, sculptors,


3.32 3.45 3.54 7.476 .001*

The festival improves people‟s knowledge

about the visual arts

3.51 3.68 3.69 6.792 .001*

The festival promotes research within the

visual arts.

3.33 3.51 3.52 2.501 .082

Perceived educational contribution to

visual arts: mean value (3.450)

3.39 3.55 3.58 6.383 0.002*

Total perceived educational contribution

mean (3.718)

3.64 3.75 3.76 5.253 0.005*

As indicated in Table 5.4, the respondents at the three festivals stated that they perceive these

festivals to make an overall contribution to the arts educationally. Statistical significant

differences were found between Vryfees respondents and respondents at the other two

festivals, whereby it is perceived that Vryfees contributes educationally more to the arts (mean =

3.76), as opposed to the contributions of Innibos (mean = 3.75) or of KKNK (mean = 3.64).

However, perceptual differences with regards to educational contribution to the performing arts

were not evident. Statistically significant differences were found between the arts festivals‟

educational contribution to visual arts, whereby respondents at Vryfees (mean = 3.54) perceive

185

the festival as making more of an educational contribution to visual arts in terms of skill

development than does the respondents at Innibos (mean = 3.45) and at KKNK (mean = 3.32).

Respondents also perceive Vryfees (mean = 3.69) and Innibos (mean = 3.68) to contribute

more to the educational contribution of visual arts in terms of knowledge improvements than

KKNK (mean = 3.51).

5.6.3.2 ANOVA: Emotional contribution

Table 5.5: Emotional Contribution

PERFORMING ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

The festival inspires people to become actors,

dancers and singers.

3.50 3.36 3.46 1.872 .154

The festival encourages people to attend more

theatre, music and dance productions.

4.15 4.21 4.36 8.556 .000*

The festival influences people to join art

associations (e.g. dance and theatre groups).

3.12 3.20 3.16 0.656 .519

Perceived emotional contribution to


3.59 3.59 3.66 1.132 .323

VISUAL ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

The festival inspires people to become

painters, sculptors, photographers and writers.

3.19 3.25 3.27 .975 .377

The festival encourages people to attend more

art exhibitions, art markets, art stalls or book

exhibitions.

3.50 3.67 3.69 6.122 .002*

The festival influences people to join art clubs

(e.g. book clubs, photography clubs, etc.)

3.10 3.20 3.16 1.137 .321

Perceived emotional contribution to visual

arts: mean value (3.331)

3.26 3.37 3.37 2.809 .061

Total perceived emotional contribution

mean (3.478)

3.43 3.48 3.52 2.003 .135

186

As indicated in Table 5.5, the mean scores of Emotional contribution regarding performing arts

indicates that respondents perceive the Vryfees (mean = 4.36) to contribute more emotionally to

the performing arts in a way that it encourages people to attend more theatre, music and dance

productions than was the case at Innibos (mean = 4.21) and at KKNK (mean = 4.15). In terms

of the festivals encouraging people to attend more art exhibitions, art markets, art stalls or book

exhibitions (visual arts), Vryfees (mean = 3.69) was once again perceived to contribute more

emotionally than Innibos (mean = 3.76) or KKNK (mean = 3.50). The festival with the highest

perceived total emotional contribution was Vryfees, with a mean score of 3.52, followed by

Innibos (mean = 3.48) and then by KKNK (mean = 3.43).

5.6.3.3 ANOVA: Economic contribution

Table 5.6: Economic Contribution

PERFORMING ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

The festival contributes to an increase in ticket

sales of dance-, theatre- and music

productions.

3.92 3.98 4.17 11.318 .000*

The festival contributes to more employment

opportunities for individuals within the theatre-,

dance- and music industries.

3.99 3.99 4.05 .679 .512

The festival contributes to a more stable

income for individuals within the theatre-,

dance- and music industries.

3.70 3.84 3.818 2.837 .059

The festival contributes to an increase in CD

and DVD sales of theatre pieces, dance and

music.

3.86 4.04 3.92 4.849 .008*

Perceived economic contribution to


3.87 3.96 3.99 3.956 .019

VISUAL ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

Because of the festival, there are more people

who invest in visual art.

3.22 3.40 3.34 3.918 .020

The festival creates more employment 3.47 3.58 3.60 2.968 .052

187

opportunities for visual artists (painters,

sculptors, photographers, writers).

The festival contributes to a more stable

income for painters, sculptors, photographers

and writers.

3.30 3.47 3.44 4.147 .160

The festival encourages people to purchase

more paintings, sculptures, photo art.

3.35 3.50 3.57 7.405 .001*

The festival encourages people to purchase

more books.

3.32 3.42 3.56 7.611 .001*

Perceived economic contribution to visual


3.33 3.47 3.50 6.116 .002

Total perceived economic contribution

mean (3.665)

3.60 3.70 3.75 6.570 .001

Table 5.6 reveals the mean scores of perceived Economic contribution, in terms of increased

ticket sales for the performing arts. Vryfees (mean = 4.17) is perceived to contribute more to the

performing arts economically than does Innibos (mean = 3.98) or KKNK (mean = 3.92). In terms

of perceived economic contribution to performing arts, measured in terms of increased sales of

CDs and DVDs of theatre pieces, dance and music, respondents at Innibos (mean = 4.04)

perceived the festival as a greater contributor as opposed to those of Vryfees (mean = 3.92)

and KKNK (mean = 3.86). In terms of perceived economic contribution to the visual arts by the

three festivals, Vryfees (mean = 3.57) was perceived to contribute more, because it encourages

people to purchase more paintings, sculptures and photo art than does Innibos (mean = 3.50)

and KKNK (mean = 3.35). Vryfees (mean = 3.56) is also perceived to contribute economically

more to the visual arts where it again encourages people to purchase more books than does

Innibos (mean = 3.42) and KKNK (mean = 3.32). The festival that is perceived to contribute the

most to the total economic contribution of the arts in general is Vryfees (mean = 3.75), followed

by Innibos (mean = 3.70) and then by KKNK (mean = 3.60).

5.6.3.4 ANOVA: Quality contribution

Table 5.7: Quality contribution

PERFORMING ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

The festival‟ selection requirements contribute

to quality music-, dance- and theatre

productions.

3.81 4.05 4.01 9.838 .000*

188

The singers/actors/dancers at the festival

create a quality experience of performing arts

during the festival.

3.98 4.16 4.12 5.526 .004*

The festival improves the quality of actors,

singers and dancers.

3.83 3.85 3.92 1.392 .249

Perceived quality contribution to


3.87 4.02 4.01 6.084 .002

VISUAL ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

The festival creates a platform for the

availability of quality paintings, sculptures,

photo art and books.

3.57 3.71 3.70 3.584 .028

Painters, sculptors and writers at the festival

create a quality experience of visual arts

during the festival.

3.61 3.76 3.81 4.252 .014

The festival promotes the quality of painters,

sculptors, photographers and writers.

3.49 3.61 3.51 1.984 .138

Perceived quality contribution to visual


3.56 3.69 3.67 3.679 0.025*

Total perceived quality contribution mean

(3.804)

3.72 3.86 3.84 6.096 .002*

The mean scores for Quality contribution are indicated in Table 5.7. Innibos (mean = 4.02) is

perceived to be the festival that contributes most to the quality of performing arts, in terms of

selection requirements than does Vryfees (mean = 4.01) or KKNK (mean = 3.81). In terms of

quality experiences, Innibos (mean = 4.16) is perceived to contribute more to the quality of

performing arts than in the case of either Vryfees (mean = 4.12) or KKNK (mean = 3.98). There

were no statistically significant differences between the festivals in terms of quality contribution

of visual arts. Innibos is, however, perceived to contribute the most to the arts in terms of

quality, with a total quality contribution mean of 3.86. Vryfees accounts for a mean value of 3.84

and KKNK with a mean value of 3.72.

189

5.6.3.5 ANOVA: Marketing contribution

Table 5.8: Marketing contribution

PERFORMING ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

The festival promotes the image of performing

arts (theatre, dance and singing) in SA.

4.02 4.15 4.11 3.003 .050

The marketing of The festival makes people

more aware of the productions in the country in

general.

4.11 4.24 4.20 2.859 .058

The festival markets well-known as well as

new artists within the performing arts.

4.05 4.15 4.15 2.686 .068

The festival establishes networking

opportunities for performing artists.

3.92 4.08 3.95 4.014 .018

Perceived marketing contribution to


4.03 4.16 4.10 3.923 0.020

VISUAL ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

The festival promotes the image of the visual

arts (paintings, sculptures, photo art and

books) in SA.

3.52 3.67 3.65 4.029 .018

The marketing of The festival makes people

more aware of SA art works and literature in

general.

3.63 3.79 3.75 3.945 .020

The festival markets well-known as well as

new artists within the visual arts.

3.68 3.79 3.77 1.974 .139

The festival establishes networking

opportunities for visual artists.

3.60 3.75 3.65 2.979 .051

Perceived marketing contribution to visual

art: mean value (3.680)

3.61 3.75 3.71 3.823 0.022

Total perceived marketing contribution

mean (3.892)

3.82 3.96 3.91 5.914 0.003

In Table 5.8, it was found that the festivals do indeed contribute to the marketing of the

performing and visual arts. Respondents at Innibos (mean = 3.96) had a higher mean regarding

190

their perception of the festival‟s total marketing contribution to the arts than did Vryfees (mean =

3.91) or KKNK (mean = 3.82).

5.6.3.6 ANOVA: Growth and development contribution

Table 5.9: Growth and Development contribution

PERFORMING ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

Due to The festival, the number and variety of

productions in SA have increased.

4.00 3.92 3.86 3.339 .036

The festival‟ existence has led to the

development of other arts festivals in SA.

4.13 3.64 3.41 70.322 .000*

The festival contributes to an increase in the

production of production/music CDs and DVDs

3.85 3.81 3.59 12.060 .000*

Because of The festival, there are a growing

number of actors, dancers and singers that

have entered the market.

3.81 3.67 3.59 7.205 .001*

The festival‟ financial support contributes to an

increase in productions.

3.78 3.91 3.80 2.495 .083

The festival develops infrastructure for theatre,

dance and music productions.

3.80 3.83 3.76 0.716 .489

Perceived growth and development

contribution to performing arts:

mean value (3.788)

3.90 3.80 3.67 12.206 0.000

VISUAL ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

Because of the festival, the number and variety

of art works have increased.

3.48 3.52 3.51 0.219 .803

Because of the festival, there is a growth in the

number of painters, sculptors, photographers

and writers that enter the market.

3.42 3.43 3.46 0.140 .869

Because of the festival, there is a growth in the

number of paintings, sculptures, photo art and

literature.

3.44 3.56 3.48 1.657 .191

The festival‟ financial contribution contributes

to the growth in visual arts.

3.44 3.68 3.55 6.678 .001*

191

The festival develops infrastructure for the

exhibition of visual art.

3.56 3.70 3.64 2.512 .081

Perceived growth and development

contribution to visual arts:

mean value(3.516)

3.47 3.58 3.53 1.672 0.188

Total perceived growth and development

contribution mean (3.672)

3.69 3.69 3.60 3.302 0.037

The mean scores for Growth and development contribution indicates that the respondents at

KKNK (mean = 4.13) perceive the festival to be the greatest contributor regarding growth and

development of the performing arts in that the festival‟s existence has led to the development of

other arts festivals in South Africa. Innibos revealed a mean value of 3.64 and Vryfees had a

mean value of 3.41. Respondents at KKNK (mean = 3.85) also perceived the festival to

contribute to a greater extent to the growth and development of performing arts than the other

festivals as regards an increase in the production of production/music CDs and DVDs, as

opposed to Innibos (mean = 3.81) and Vryfees (mean = 3.59). KKNK (mean = 3.81) is also

perceived to contribute more regarding the growth in the number of actors, dancers and singers

that have entered the market because of the festival. These are followed by Innibos (mean =

3.67) and then by Vryfees (mean = 3.59). However, Innibos (mean = 3.68) is perceived to be a

greater contributor to the growth and development of visual arts based on the festival‟s financial

contribution as opposed to the contribution of Vryfees (mean = 3.55) and KKNK (mean = 3.44).

KKNK and Innibos (both with a mean value of 3.69) are perceived to be the greater contributors

when it comes to the total growth and development contribution to the arts (Table 5.9).

5.6.4 Personal involvement in the arts

The perception of festival visitors regarding the festivals contribution to the arts may differ from

their actual contribution/involvement with/to these arts. The following section measures the

statistically significant difference regarding actual personal involvement of these visitors to the

arts across the three festivals.

From the results of Table 5.2, it is clear that festival visitors are involved in the arts, due to their

actual purchase behaviour at these festivals. As indicated in Table 5.10, respondents at KKNK

purchased more books, with a mean score of 1.12, when compared to Innibos (mean = 0.52)

and Vryfees (mean = 0.72). KKNK respondents also purchased more CDs and DVDs during the

festival (mean = 1.16) than at Innibos (mean = 1.07) and Vryfees (mean = 0.60). Respondents

at KKNK also saw more new artists (mean = 4.54), followed by the respondents at Innibos

(mean = 2.70) and by the respondents at Vryfees (mean = 2.17). Respondents at KKNK

attended more dance productions (mean = 0.74) than did respondents at either Innibos (mean =

192

0.51) or at Vryfees (mean = 0.30). Respondents indicated that they purchased more tickets for

theatre productions at KKNK (mean = 8.18) when compared to the other two festivals, where

the mean score of ticket sales at Vryfees is 5.18, followed by the mean score of 4.24 of ticket

sales at Innibos. Over the 18 years of KKNK existence, respondents attended the festival on a

regular basis, with repeat visits of a mean score of 7.01, followed by respondents at Vryfees

(mean = 4.88) during the festivals‟ 12 years of existence and respondents at Innibos (mean =

3.69) during the festivals‟ nine years of existence.

Table 5.10: Personal involvement in the arts

5.6.5 Total contribution to the arts

This section explores each perceived type of contribution the three festivals makes to both the

performing and visual arts by plotting them on a graph.

5.6.5.1 Perceived contribution to the performing arts

In the case of the performing arts, Figure 5.2 indicates that KKNK and Innibos is perceived to

contribute to a lesser extent to the emotional contribution of performing arts, with Vryfees

PERSONAL INVOLVEMENT IN THE ARTS

KKNK

(n=600)

INNIBOS

(n=405)

VRYFEES

(n=574)

F-value

Sig Dev

mean mean mean

Average number of books purchased during

the festival

1.12 0.57 0.72 12.000 .000*

Average number of CDs / DVDs purchased

during the festival

1.16 1.07 0.60 12.643 .000*

Average number of paintings and/or sculptures

purchased during the festival

0.23 0.32 0.28 1.264 .283

Average number of new performing artists

seen during the festival

4.54 2.70 2.17 38.518 .000*

Average number of dance productions attend 0.74 0.51 0.30 13.630 .000*

Average number of tickets for theatre

productions

8.18 4.24 5.18 43.418 .000*

Average number of art associations/clubs

currently involved with.

0.37 0.29 0.26 1.549 .213

Average number of times attended the festival 7.01 3.69 4.88 70.753 .000*

Average number of other arts festivals

attended over the past three years

1.51 1.29 1.20 3.144 .0.43

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contributing to a greater extent, but being the smallest contributor when compared to the other

levels of types of contribution. Innibos is perceived to contribute more the marketing of the

performing arts, as it has the highest perceived contribution of all three festivals, followed by

Vryfees and KKNK. KKNK‟s perceived contribution at the economics, quality and education is

perceived to contribute to the same extent, with the growth and development contribution

slightly more. The growth and development contribution of KKNK is perceived to be the greatest

amongst the three festivals, with Innibos following, and then by Vryfees offering the lowest

perceived growth and development contribution to the performing arts.

Figure 5.2: Contribution to performing art

5.6.5.2 Perceived contribution to the visual arts

In the perceptions of respondents, the three festivals contribute to a greater extent to the

marketing of the visual arts present at these festivals, where the emotional contribution is

perceived to be the lowest contributor (Figure 5.3). KKNK is perceived to contribute less, in

comparison to the other two festivals, to all the identified contributions, with respondents

perceiving Innibos and Vryfees‟s contribution to the visual arts in all the contributing factors

almost identically.

194

Figure 5.3: Contribution to visual arts

5.6.5.3 Total perceived contribution to the arts

As seen in Figure 5.4, respondents perceived the marketing contribution that the three festivals

make to the arts to be the greatest, with Innibos to a larger extent, followed by Vryfees and then

by KKNK. The contribution that was perceived to be the lowest was the total emotional

contribution across the three festivals, with Vryfees perceived to contribute the most, followed

by Innibos and KKNK.

Figure 5.4: Total contribution to the arts

3.1

3.2

3.3

3.4

3.5

3.6

3.7

3.8

3.9

4

Total emotional

contribution

Total economic

contribution

Total quality contribution

Total educational contribution

Total marketing

contribution

Total growth and

development contribution

KKNK

INNIBOS

VRYFEES

195

5.7. FINDINGS

This research set out to answer two questions, namely do arts festivals in South Africa still

contribute to the arts according to the festival visitors‟ perception and, if they do, do arts

festivals differ in terms of their contribution to the arts? For comparative reasons, the separate

contributions as identified in the literature are evaluated to determine perceived differences

regarding each festival‟s contribution to the arts. The results of this research suggest the

following findings with the accompanying implications.

Firstly, the study confirms that the three arts festivals that form the survey do indeed, according

to visitor perceptions, contribute to the arts when reference is made to the mean values. All of

the five identified factors had mean loadings above 3.00 (Table 5.3), based on a five-point Likert

scale. These contributing factors are Performing arts enhancement (mean = 4.033), Performing

arts exposure (mean = 3.789), Visual arts enhancement (mean = 3.581), Visual arts

involvement (mean 3.416) and Emotional inspiration (mean = 3.279). The five factors confirmed

the findings of Page & Connell (2012:352), Koopman (2012), Hughes (2012:13), Jonker et al.

(2009:383), Finkel (2009:13), Anheier & Isar (2008:264), Kitshoff (2004:238), Waterman

(1998:58) and those of Mitchell & Wall (1989).

Secondly, the study provides evidence that although the festivals are perceived to contribute to

the arts overall, the festival visitors tend to perceive the festivals as contributing more to the

performing arts than to the visual arts. The way the festival visitor perceives the arts can,

however, be influenced by their preference or taste for a certain type of art (Heilbrun & Gray,

2001:74, 182, 399). This validates findings of Viviers, Botha, Slabbert, Seymour, Saayman &

Saayman (2012:45, 48, 50-55) where the respondents indicated that they preferred the

performing arts (84%) to the visual arts (16%). The level of exposure to a certain type of art can

also influence perception relating to contribution (Heilbrun & Gray, 2001:398). The more the

respondent is exposed to, or familiar with, the type of art, the stronger the preference for that

particular art.

Thirdly, the visitors perceived the South African arts festivals as contributing to a lesser extent

to the arts regarding emotional inspiration. Emotional contribution entails the personal

inspiration arts festivals have on the visitor when attending and experiencing the arts at the

festival (Hughes, 2012:13; Finkel, 2009:13; Waterman, 1998:58). This confirms the findings of

Viviers et al. (2012:56) at the KKNK in 2012, which indicated that 51% of respondents who

formed part of the survey were not influenced by the festival to join the arts, although their

knowledge and awareness of these arts had increased.

196

Fourthly, this study confirms that the type and extent of contribution to the arts that the three

festivals make varies according to the perceptions of the festival visitors. This corresponds with

other studies indicating that perceptions may differ (Heilbrun & Gray, 2001:398). As previously

mentioned in literature, the arts festival can contribute to the arts in six ways, namely,

educationally, emotionally, economically, quality, marketing and to the growth and development

of these arts present at the festivals. Several findings resulted from this new research in terms

of these perceived contributions and are as follows:

Although the festival visitors perceive the arts festivals as contributing overall educationally to

the arts, with mean values all above 3.00, the perception is that Vryfees and Innibos

contributes more to the education of the visual arts than does KKNK in terms of the skill

development of painters, sculptors, photographers and writers, and knowledge enhancement

regarding the visual arts at the festivals.

The festival visitors perceive the arts festivals as contributing overall emotionally to the arts,

as all the mean values were above 3.00. Results indicated that respondents at Vryfees

perceive the festival as contributing more emotionally to the visual and performing arts than

Innibos and KKNK, in terms of influence to attend music, dance, and theatre productions and

to art exhibitions, art markets, art stalls or book exhibitions.

It was found that all three festivals contribute economically to the arts, all having a mean

value higher than 3.00. It is perceived that Vryfees and Innibos contribute more economically

to the arts than does KKNK. Further, the perception is that Innibos contributes economically

more to the performing arts than either Vryfees or KKNK in terms of increased CD and DVD

sales of theatre pieces, dance and music. Respondents at KKNK perceive the festival as

contributing more economically to the performing arts than at Innibos and Vryfees in terms of

increased ticket sales of dance, theatre and music productions.Vryfees is perceived to

economically contribute more to the visual arts than Innibos and KKNK in terms of books and

artwork purchases (such as paintings and sculptures).

It is perceived that the festivals contribute overall to the quality of the arts with all their mean

values relating to quality contribution above 3.00. The perception is that Innibos and Vryfees

contributes more to the quality of the performing arts than does KKNK in terms of selection

requirements of quality music, dance and theatre productions and to the provision of quality

experiences created by the singers/actors/dancers at the festivals.

The perception is that the festivals overall contribute to the marketing of the performing and

the visual arts, once more, having mean values all above 3.00. However, results found that

197

respondents at Innibos and Vryfees perceived these festivals as contributing more to the

marketing of the arts than was the case at KKNK.

When reference is made to the growth and development contribution of the arts festivals to

the arts, it is also perceived that these festivals do contribute to the growth and development

to the arts present at the festivals (with all the mean values above 3.00). Results indicate that

KKNK is perceived to contribute more to the growth and development of the performing arts

than do the other festivals (Innibos and Vryfees) in terms of stimulating to the development

of other arts festivals in South Africa, increased production of production/music CDs and

DVDs, and a growth in the number of actors, dancers and singers that have entered the

market. Innibos is perceived to contribute more to the growth and development of the visual

arts than Vryfees and KKNK in terms of the festival‟s financial contribution in the visual arts.

Fifthly, although KKNK is perceived to contribute to a lesser extent in most aspects to the

performing and the visual arts, as noted above, the festival respondents were more personally

involved in the arts at KKNK than was the case at Innibos or at Vryfees. Respondents at KKNK

purchased more books and production/music CDs or DVDs. They also saw more new artists at

the festival and had a higher ticket purchase rate and a higher dance production attendance at

the festival. Visitors to KKNK are also much more loyal to the festival in terms of repeat visits

than at Innibos and Vryfees.

Finally, it was found that the overall perception of the three festivals was that they contributed

more to the marketing and quality of the arts present at the festivals, than to the other four

contributions, the emotional, economical, educational and growth and development

contributions, of these festivals. As in the case of the emotional inspiration contribution factor

loaded on the factor analyses, the emotional contribution at all three festivals are perceived the

lowest by the festival visitors.

5.8 IMPLICATIONS

Based on the results and findings of this study, several implications are identifiable.

Although all three festivals are perceived to contribute overall to the arts, none of their

contribution mean values are above 4.00, which suggests that there is, certainly from their

visitors‟ perceptions, room for improvement concerning each of the festival‟s full contribution to

keeping the arts alive. This can most readily be undertaken by enhancing each of the identified

contribution factors.

198

When examining the 6 contribution factors, the arts festivals are perceived to contribute

emotionally to the arts to a lesser extent. This perception can be positively or negatively

changed to encourage and stimulate arts participation and attendance at arts festivals through

making the visitor more aware of the arts in terms of marketing through television, radio and

perhaps through posters on street poles before and during the festival. By enhancing

participation and first-hand experience of the arts, the chances of stimulating and motivating the

festival visitor to become part of the arts world will be greater. This may also be done by

providing visitors the chance to participate in the arts in competitions. These competitions can

vary from best paintings, best sketches, best amateur artists or best solo music productions.

The provision of arts workshops, such as craft classes, drama classes and writing lessons, can

also stimulate participation in the arts. The local community can be encouraged to form part of

the community‟s street-theatre or community theatre productions at the festivals.

The perception is that the festivals contribute more to the performing arts than they do to the

visual arts. The arts need to be enhanced equally. Visitors to these festivals are well aware of

the performing arts at the festivals, which may be the reason for the strong perception regarding

the festivals performing arts contribution. By bringing the visual arts to the performing arts, for

example, the placement of paintings and sculptures in the entrance halls of theatre and music

productions or maybe by placing them between the art and craft stalls on the festival grounds

where the visual art is clearly visible for these participants, the visual arts will enjoy more

awareness and marketing. The more exposed or aware the visitors are to the visual arts, the

better the chances are that perceptions may then change regarding the festivals‟ contribution to

the visual arts. Perceptions concerning the visual arts contribution at the festivals will improve

where the knowledge and awareness of the visitors to the visual arts is enhanced. This can be

done through offering speeches or addresses by renowned and new visual artists or by

providing guided tours to the visual arts on the festival grounds where the visitor not only has

the chance to see visual arts, such as paintings or sculptures, but also has the opportunity to

learn about them and improving their knowledge for better perception formation. This can also

be done to enhance the awareness and exposure of literature, of books, to the festival visitors.

As evident from above, the three festivals differ to some extent in terms of their contribution to

the arts. Festival organisers and managers from the three festivals need to collaborate to

develop co-managing efforts and strategies to better their combined contribution to the arts. For

example, where one festival is perceived to contribute more to the marketing of the arts, the

other festivals can learn from the successful festival in terms of marketing and perhaps adopt

the successful marketing campaigns in order that better marketing contributions can be made

by all. Information and knowledge exchange is important here. The festivals can make a

positive contribution to each other and to their shared arts.

199

From the perceptions of visitors to the three festivals, Vryfees is perceived to contribute more to

the performing arts in that it is perceived to encourage the visitors to attend more theatre, dance

and music productions. This might be due to the fact that Vryfees has better infrastructure to

host productions as it is hosted on the grounds of the Free State University, and so their high

quality theatre halls are available for use. For the other festivals to better their contribution

regarding the performing arts, they need to look at their infrastructure standards and to

determine if their visitors are satisfied with what the festival currently offers.

The festivals all have standards of quality that the arts products and activities at the festival

must fulfil based on these requirements. Each festival has its own standards of quality, whereby

quality is measured in terms of visitors‟ satisfaction and festival output. In order to let the public

know how the festival defines quality and what the standards of quality for the arts are, the

festivals must make their requirements known to their visitors. In making the visitors aware of

the standards of arts, the visitors‟ perceptions may change concerning the quality experience.

Nevertheless, standards of quality may vary according to technique, style, artist or uniqueness.

To market the arts, creative and innovative marketing campaigns must be implemented at these

festivals. Innibos is perceived to contribute more to the marketing of the arts, which confirms the

Fiesta achievement of Innibos earlier in 2012 with a strong marketing theme. The market for the

arts is homogeneous, indicating that the arts can be marketed in the same way to all. However,

each festival must find a way to emphasise its own unique contribution.

In terms of the growth and development contribution of the festivals, the festivals can contribute

financially to theatre and music productions, showcasing them at the festival as well as possibly

ensuring on-going productions of these arts outside the festival period. Financial support for

new artists can also ensure their growth, perhaps their very existence, as artists in the industry.

All the festivals need to encourage personal involvement in the arts. This can be done by

educating the visitors about the benefits of participating in the arts. Effective marketing of the

arts can lead to participation and potential purchase of arts goods. If the quality and standard of

the arts work are known, the visitor can be encouraged to purchase the arts product or activity

(Yoon, Lee & Lee, 2012:335; Yaun & Jang, 2008:280; Lee, Petrick & Crompton, 2007:408). If

the visitor is more acutely aware of the economic injection of the festivals to their communities,

the visitors may also be inspired to visit the festival repeatedly, and may be influenced to

support the arts and the festival to a greater extent.

In this research, it is important to bear in mind that perceptions do not necessary correlate the

actual contributions of these festivals. Thus, festival managers must consider the areas where

200

perceptions are, in their opinion, lower than what they know the festival actually contributes to

the arts. These perceptions must then be analysed by management to determine the

shortcomings, since false perceptions can influence the image of a festival that, in turn, can

influence the sustainability of the festival. Marketing can then be done to ensure the public is

aware of the festival‟s contributions to the arts.

5.9 CONCLUSION

This study has contributed to South African arts festival literature and a valid contribution

measuring instrument for arts festivals to the arts was developed. The measuring instrument

identified where the arts festivals currently lay on their contribution to the arts, and compared

the three festivals according to their levels of contribution to one another. This research will

enable the festival management teams at the three festivals with operational recommendations

aimed at ensuring the livelihood of the arts and should enable continuing fulfilment and

improvement of its main reason for existence.

This chapter (Article 3) investigated three arts festivals in South Africa, each hugely popular.

Although somewhat diverse events with a national reputation, nevertheless they have largely

been neglected by researchers in terms of their contributions to the very arts that they seek to

promote. A revised definition of arts festivals has now been advanced and the concept of the

festival contribution introduced in a new context. The ensuing research was the first of its type

to be conducted at KKNK, Innibos and Vryfees. The arts festival still has its roots embedded in

its reason for establishment, and is still characterised by arts delivery, and participation. The

festivals provide development and enrichment by contributing educationally, economically,

emotionally, through marketing, quality provision and growth and development of the arts. The

arts festival sector has shown remarkable growth and still contributes to the arts, pursuing its

initial goal and purpose.

Recommended comparative studies on this research topic should be undertaken at other arts

festivals to further validate the current contribution to the arts results of arts festivals. Further, it

is recommended that a standardised measuring instrument be implemented at international arts

festivals.

201


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208

CHAPTER 6

CONCLUSIONS AND RECOMMENDATIONS

“Art is like food – even if you don’t like it, it has some nutritional value”

CHAPTER 6

CHAPTER 6

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6.1 INTRODUCTION

Arts festivals are defined as community-themed events or celebrations designed to display

different arts forms and activities, along with the related tourism and hospitality experiences

(Kruger & Petzer, 2008:113). Many researchers have identified the various contributions of

festivals to the arts (Heilbrun & Gray, 2001; Jackson & O‟Sullivan, 2002:327; Nieman, 2003;

Richardt & Wilson, 2004; Holden, 2004; Visser, 2005:160-162; Van Der Vyver & Du Plooy-

Cilliers, 2006:192; Quinn, 2006:301; Anheier & Isar, 2008:3; Winner & Hetland, 2008; Hutter &

Throsby, 2008; Finkel, 2009:13; Hughes, 2012).

Six contributions are readily identifiable; the educational contribution (Korza & Magie, 1989:3;

Faulkner, Moscardo & Laws, 2001:138; Heilbrun & Gray, 2001:229; Prentice & Andersen,

2003:25; Quinn, 2006; Allen, O‟Toole, Harris & McDonnell, 2012:50; Winner & Hetland, 2008;

Anheier & Isar, 2008:8; Finkel, 2009; Dunjic, 2011; Page & Connell, 2012:352), economic

contribution (Korza & Magie, 1989:3; Mitchell & Wall, 1989:39; Rolfe, 1992; Heilbrun & Gray,

2001:227; Kitshoff, 2004:238; Saayman & Saayman, 2004; Saayman & Saayman, 2006; Quinn,

2006:301; Anheier & Isar, 2008:3; Allen et al., 2012:61; Snowball, 2010; Jonker, Saayman & De

Klerk, 2009:383; Finkel, 2009:12; Goeldner & Ritchie, 2009:81), emotional contribution

(Waterman, 1989:55; Heilbrun & Gray, 2001:228; Reeves, 2002:29,30,37; Axelsen, 2006;

Schwarz & Tait, 2007; Finkel, 2009:13), quality contribution (Korza & Magie, 1989:12,36;

Reeves, 2002:37; Quinn, 2006:291,300; Allen et al., 2008:180; Finkel, 2009:20; Liburd &

Derkzen, 2009:137; Hughes, 2012:13), marketing contribution (Korza & Magie, 1989:3; Bonus &

Ronte, 1997:112; Nieman, 2003; Kitshoff, 2004:238; Richardt & Wilson, 2004; Visser, 2005:162;

Quinn, 2006:294; Van der Vyver & Du Plooy-Cilliers, 2006:192; Hutter & Throsby, 2008;

Anheier & Isar, 2008:264; Jonker, Saayman & De Klerk, 2009:383; Page & Connell, 2009:393;

Koopman, 2012; Hughes, 2012:154), growth and development contribution (Waterman,

1998:55; Korza & Magie, 1989:3; Faulkner et al., 2001:138; Heilbrun & Gray, 2001:228;

Kitshoff, 2004:240; Visser, 2005:160; Quinn, 2006:302; Anheier & Isar, 2008:263; Saayman &

Rossouw, 2011:611; Koopman, 2012; Hughes, 2012:153).

It was the aim of this study to determine the contribution to the arts made by South African arts

festivals as perceived by the festival visitor. This was done to determine if the arts festivals are

still contributing to the arts according to the identified factors and so ensuring equal livelihood of

all arts forms present at these festivals.

To reach this aim, the following objectives were set and pursued:

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Objective 1 (cf. 2)

To identify, by means of a literature study, the following:

o The arts and culture relationship (cf. 2.2.1);

o The arts context (cf. 2.2.2);

o The arts related tourism product with a focus on arts festivals (cf. 2.2.3); and

o The perceived contributions of arts festivals to the arts (cf. 2.2.4).

Objective 2 (cf. 3)

To determine the perceptions that the visitors to KKNK have, regarding the festival‟s

contributions to the arts (cf. 3.5); and

To analyse whether perceived contribution to the arts differ according to the socio-

demographic characteristics of the visitors to KKNK (cf. 3.5).

Objective 3 (cf. 4)

To determine the perceived contribution of Innibos and Vryfees to the arts (cf. 4.5); and

To analyse possible differences regarding festival visitors‟ involvement in the arts at both

Innibos and Vryfees in relation to the arts preferences of the visitors (cf. 4.5).

Objective 4 (cf. 5)

To determine the perceived contribution of arts festivals in South Africa to the arts

through three arts festivals, namely, KKNK, Innibos and Vryfees (cf. 5.7); and

To analyse whether KKNK, Innibos and Vryfees differ in terms of their contribution to the

arts (cf. 5.7).

6.2 CONCLUSIONS

Based on the research undertaken to achieve the objectives, the following conclusions can be

drawn:

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6.2.1 Conclusions regarding the literature study

Conclusions regarding the relationship between the arts and culture:

o Culture can often be referred to as the term „arts‟ (cf. 2.2.1).

o Culture is the distinctive spiritual, material, intellectual and emotional features

that categorise a society or social group. It includes areas such as creative

expression, community practices and material or built forms, such as the arts (cf.

2.2.1).

o The language of culture is the arts (of painting, music, dance, etc.), and refers to

the ways in which meanings, artefacts, beliefs, symbols and messages are

transmitted, processed, recorded, stored and reproduced (cf. 2.2.1).

o Cultural tourism is the movements of persons to cultural attractions such as

heritage sites, artistic and cultural manifestations, arts and drama outside their

normal place of residence (cf. 2.2.1).

Conclusions regarding the arts context:

o The arts are all forms of dance, drama, music, visual arts, crafts, design and

literature, and serve as the means for creativity and expression through

performance, execution, presentation, exhibition, transmission and study (cf.

2.2.2).

o The arts are composed of objects (the visual arts, such as paintings, sculptures,

ceramics), or activities (the performing arts, such as dances, songs, theatre

productions and performances) (cf. 2.2.2).

o The performing arts are those where the participant is the mode of artistic

expression (cf. 2.2.2).

o Visual arts give voice and language to the otherwise mute art object (cf. 2.2.2).

Conclusions regarding the arts related tourism product with focus on arts festivals:

o Arts tourism is travel for the purpose of experiencing the elements of culture,

such as the travel to arts festivals (cf. 2.2.3.1).

o Audiences who are attracted to a place by the arts are termed „arts-core‟.

Audiences who listed the arts as additional attractions when visiting are termed

„arts-peripheral‟ (cf. 2.2.3.1).

o An arts tourism product, such as an arts festival, can be seen as an arts tourism

attraction (cf. 2.2.3.1).

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o An arts festival can be defined as a festival that must be presented over a short

period of time, with a variety of works created or produced by other professional

organisations or artists working in diverse artistic disciplines, such as performing

arts or visual arts (cf. 2.2.3.2).

o A combined arts festival contains more than one genre of artistic performance,

for example, music, drama and visual arts (cf. 2.2.3.2).

Conclusions regarding the perceived contributions of the arts festival to the arts:

o Arts festivals were established for reasons of artistic vision; to celebrate and to

promote awareness to the arts; to increase understanding of a particular art form

or culture; to enable arts attendance; to improve local access to the arts; to

encourage a desire to exchange ideas; to test artistic skills; and to renew cultural

ties (cf. 2.2.4).

o General contributions of the arts festival are to bring the arts to the people; to

promote the arts; to provide exposure to the arts; for instrumental justification to

the arts; to offer various genres of arts; to make the arts more accessible; to

enjoy the arts; to provide interaction with the arts; to market the arts; to present

professional arts; to provides high standards of quality and artistic experience; to

encourage young people to become involved with the arts; and to contribute to

production and consumption of culture/arts (cf. 2.2.4).

o Arts festivals act as contributors to the arts in its many forms (cf. 2.2.4).

o Identified contributions made by arts festivals to the arts include emotional

contribution; educational contribution; economic contribution; marketing

contribution; quality contribution; and growth and developmental contribution (cf.

2.2.4).

o Educational contribution (cf. 2.2.4.1).

- Teaches new or traditional art forms (cf. 2.2.4.1).

- Encourages artistic innovation (cf. 2.2.4.1).

- Provides a platform for information exchange, which then generates

knowledge from existing knowledge regarding the arts (cf. 2.2.4.1).

- Revives artefacts through teaching (cf. 2.2.4.1).

- Enables arts learners to grow into prominent artists (cf. 2.2.4.1).

- Provides educational programs in schools to encourage young people to

become involved with the arts (cf. 2.2.4.1).

o Emotional contribution (cf. 2.2.4.2).

- Stimulates creativity (cf. 2.2.4.2).

- Enhances innovation (cf. 2.2.4.2).

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- Inspires the individual to be part of the arts world when they become

involved and are experiencing the arts at arts festivals (cf. 2.2.4.2).

o Economic contribution (cf. 2.2.4.3)

- Provides additional audiences and other sources of revenue for the arts

(cf. 2.2.4.3)

- Enables an aditional and ideal income opportunity for the artists (cf.

2.2.4.3)

- Extra employment may also result. The extra jobs in the profession, also

mean that people may remain in the profession (cf. 2.2.4.3).

- Generates sponsors and private sector funding for the arts (cf. 2.2.4.3).

o Quality contribution (cf. 2.2.4.4).

- Establishes standards of quality (cf. 2.2.4.4).

- Recognises that the productions need to be professional, spectacular

and/or unique to be of quality (cf. 2.2.4.4).

- Promotes high quality in the arts thus leading to annual visitor revenue

and re-investment in the arts and arts festival (cf. 2.2.4.4).

o Marketing contribution (cf. 2.2.4.5)

- Provides awareness, promotion, exposure and comprehension of the arts

(cf. 2.2.4.5).

- Builds networking opportunies for the arts (cf. 2.2.4.5).

- Identifies promotional value of the arts for the sponsors (cf. 2.2.4.5).

- Creates demand for the arts and related arts services (cf. 2.2.4.5).

- Raises the profile of the arts (cf. 2.2.4.5).

- Fosters appreciation for well established arts and artists (cf. 2.2.4.5).

- Makes the arts readily identifiable to a broader population (cf. 2.2.4.5).

o Growth and development contribution (cf. 2.2.4.6).

- Keeps the arts alive (cf. 2.2.4.6).

- Allows the continuance of productions, art forms and venues (cf. 2.2.4.6).

- Creates and intensifies awareness of, and appreciation for, particular art

forms (cf. 2.2.4.6).

- Expands and enhances venue infrastructures (cf. 2.2.4.6).

- Creates demand for new arts services and products (cf. 2.2.4.6).

- Strengthens the capacity of arts (cf. 2.2.4.6).

- Potentially acts as a catalyst to further creativity by prioritising

development of arts and artists (cf. 2.2.4.6).

- Increased replications of arts objects and production of the many

innovative hybrid art forms (cf. 2.2.4.6).

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- Contributes to the preservation and revival of traditional art forms (cf.

2.2.4.6).

6.2.2 Conclusions regarding the perceptions that the visitors to KKNK have, in terms of

the festival’s contributions to the arts:

KKNK is perceived by festival visitors as contributing to the arts (cf. 3.5).

The perceived contributing factors (in order of level of perceived contribution to the arts)

include Performing arts exposure, Performing arts enhancement, Visual arts

enhancemen, Visual arts involvement, and Emotional inspiration (cf. 3.5).

The contribution of KKNK to the arts that is perceived as the lowest is Emotional

inspiration (cf. 3.5).

KKNK is perceived to contribute more to the performing arts than to the visual arts (cf.

3.5).

6.2.3 Conclusions regarding the difference in perception in terms of contribution based

on socio-demographic characteristics of the visitors to KKNK:

No statistically significant differences were found between the perceptions of visitors

who had either a little, moderate or great deal of arts exposure to the arts (cf. 3.5).

The perception of attendees at KKNK indicated no statistically significant differences

concerning their geographical origin in relation to the arts festival (cf. 3.5).

The perception of attendees who preferred performing arts as opposed to visual arts did

not differ with regard to the factors (cf. 3.5).

Statistically significant differences were found between the perceptions of different age

groups concerning the different factors (cf. 3.5).

The younger attendees perceive that KKNK contributes to the arts to a larger extent (cf.

3.6).

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6.2.4 Conclusions regarding the perceived contribution of Innibos and Vryfees to the

arts:

The profile of visitors to Innibos and Vryfees are similar with regard to their average

ages, arts preferences, arts exposures and favourite types of arts (cf. 4.5).

Visitors to Innibos and Vryfees considered the festivals as contributing to both the

performing arts and the visual arts (cf. 4.5).

The visitors to Innibos perceived the festival as contributing most to the Performing arts

enhancement, followed by Performing arts exposure, Visual arts enhancement, Visual

arts involvement and Emotional inspiration (cf. 4.5).

The visitors to Vryfees perceived the festival as contributing to a great extent to the

Performing arts enhancement, followed by Performing arts exposure, Visual arts

enhancement, Visual arts involvement and Emotional inspiration (cf. 4.5).

Both Innibos and Vryfees festival visitors perceived the festivals as contributing least to

the Emotional inspiration contribution of arts festivals (cf. 4.5).

Both Innibos and Vryfees festival visitors perceived the festivals as contributing the most

to the Performing arts enhancement contribution of arts festivals (cf. 4.5).

6.2.5 Conclusions regarding the possible differences of the festival visitors’

involvement in the arts at both Innibos and Vryfees in relation to their perception:

The results of the personal arts involvement of visitors to the festivals further confirm the

results from the factor analysis (cf. 4.5).

At both of these festivals, there were no statistically significant differences in terms of

preference for the performing arts or the visual arts by festival visitors (cf. 4.5).

A moderately statistically significant difference was noted at Innibos where the amount of

tickets purchased by those preferring the performing arts was greater than those

preferring the visual arts (cf. 4.5).

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A statistically significant difference was found at Vryfees where visitors preferring the

performing arts purchased more paintings at the festival than did those preferring the

visual arts (cf. 4.5).

It is found that the preference for a type of art (either performing arts or visual arts) does

not influence the personal involvement of the visitors to the arts (cf. 4.5).

Personal involvement in the arts is relatively low (cf. 4.5).

6.2.6 Conclusions regarding the perceived contribution of arts festivals in South Africa

to the arts through three arts festivals, namely KKNK, Innibos and Vryfees:

Arts festivals are perceived to contribute to the arts (cf. 5.7).

The contributing factors identified are Performing arts enhancement, Performing arts

exposure, Visual arts enhancement, Visual arts involvement and Emotional inspiration

(cf. 5.7).

It is perceived that the arts festivals contribute more to the performing arts than to the

visual arts (cf. 5.7).

The visitors perceived the arts festivals as contributing to emotional inspiration only to a

small extent (cf. 5.7).

6.2.7 Conclusions regarding the difference in contribution to the arts by KKNK, Innibos

and Vryfees:

The type and extent of contribution to the arts that the three festivals make varies

according to the perceptions of the festival visitors (cf. 5.7).

Overall, festival visitors perceive the arts festivals as contributing educationally to the

arts; the perception is that Vryfees and Innibos contribute more to the education of the

visual arts than does KKNK (cf. 5.7).

The festival visitors perceive the arts festivals as contributing overall emotionally to the

arts; respondents at Vryfees perceive the festival as contributing more emotionally to the

visual and performing arts than do those at either Innibos or KKNK (cf. 5.7).

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All three festivals are perceived to contribute economically to the arts; Vryfees and

Innibos are perceived to economically contribute more to the arts than does KKNK;

Innibos is perceived to contribute economically more to the performing arts than either

Vryfees or KKNK; KKNK is perceived as contributing more economically to the

performing arts than does Innibos or Vryfees; while Vryfees is perceived to economically

contribute more to the visual arts than both Innibos and KKNK (cf. 5.7).

It is perceived that the festivals contribute overall to the quality of the arts; Innibos and

Vryfees are perceived to contribute more to the quality of the performing arts than does

KKNK (cf. 5.7).

The perception is that the festivals overall contribute to the marketing of the arts; Innibos

and Vryfees are perceived as contributing more to the marketing of the arts than KKNK

does (cf. 5.7).

It is perceived that all three arts festivals contribute to the growth and development of the

arts; KKNK is perceived to contribute more to the growth and development of the

performing arts than either Innibos or Vryfees; Innibos is perceived to contribute more to

the growth and development of the visual arts than do Innibos and KKNK (cf. 5.7).

Festival respondents at KKNK were more personally involved in the arts than those at

Innibos and at Vryfees. Respondents at KKNK purchased more books and

production/music CDs or DVDs, they also saw more new artists at the festival and had a

higher ticket purchase rate and dance production attendance at the festival (cf. 5.7).

Visitors to KKNK are more loyal to the festival in terms of repeat visits than visitors at

Innibos and Vryfees (cf. 5.7).

The three arts festivals are overall perceived to contribute most to the marketing and

quality of the arts (cf. 5.7).

6.3 CONTRIBUTION OF THE RESEARCH

This study contributes to the research field of arts festival tourism and to the development of

arts tourism products such as arts festivals. These contributions can be listed more as:

Firstly, it was the first study of its kind done in South Africa to measure the perceived

contributions of Afrikaans arts festivals in the country.

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Secondly, this study contributed to the literature on arts festivals and to that of the arts in

general.

Thirdly, a measuring instrument was designed that can be used at all arts festivals to

compare their contribution to the arts.

Fourthly, this research makes a significant contribution as it is the first step towards the

development of a standardised questionnaire to be used when measuring the perceived

contributions of arts festivals to the arts in South Africa.

Fifthly, this study provides insight and understanding to what the three arts festivals are

currently contributing to the arts. It identifies gaps and manners in which their

management could be improved. Through this, effective festival planning can lead to the

development of arts festivals contributing more effectively and efficiently to the arts.

Sixthly, this study made it possible to compare the perceptions of the festival visitors to

the different festivals regarding the festivals‟ contribution to the arts, which will aid in the

comparison of each festival‟s level of contribution with another in terms of visitor

perception, thus identifying areas of contribution at different festivals that needs

attention.

Seventhly, this study provides insight into what the festival visitor‟s actual contribution is

to the arts at the arts festival when compared to their perception of their contribution.

Lastly, the measuring instrument designed is unique because it is currently the only

integrated perceptual measuring instrument in South Africa measuring the contribution of

arts festivals to the arts.

6.4 LIMITATIONS OF THE STUDY

The following are limitations of this study:

Only three arts festivals in South Africa were surveyed. Although all of these festivals are

perceived to contribute to the arts in their own way, this is only the perceptions of those

who were visitors at these festivals. It would be helpful to include other arts festivals and

so gather their visitors‟ perceptions regarding contribution to the arts to ascertain

perceptions of the arts festivals‟ contributions to the arts in South Africa as a whole.

219

There were no open-ended questions in the questionnaire where the respondents could

make suggestions of additional contributions that the festivals might make to the arts.

6.5 RECOMMENDATIONS TO ARTS FESTIVALS

It is recommended that arts contribution of arts festivals to be enhanced to equal

prominence with the performing and the visual arts. Arts festivals are perceived by the

festival visitors as contributing to a greater extent to the performing arts. This positive

and strong perception towards the performing arts contribution of arts festivals may be

due to the awareness and marketing these festivals make to the performing arts. Visitors

to the arts festivals are well aware of the performing arts at the festivals. The performing

arts are well marketed in and around the festival grounds and production venues and

are placed effectivily for festival visitors to see and enjoy music, dance and theatre

productions. It is recommended that the arts festivals must market the visual arts they

present more effectivily to create exposure and awareness, which can then lead to

positive perceptions forming concerning the festival‟s contribution to paintings,

sculptures, literature and to arts and crafts. The visual arts can then also be placed at

the performing arts venues. For example, the placement of paintings, books and

sculptures between the art and craft stalls on the festival grounds or in the entrance halls

of theatre, dance and music productions would do much to enhance their prominence.

This will make the visual arts more visible to the festival visitors, enabling these arts

forms to enjoy greater awareness, exposure and marketing.

The provision of speeches or public addresses by famous and new visual artists or the

provision of visual arts guided tours on the festival grounds is also recommended. This

will provide the festival visitor with the opportunity to improve their knowledge of the

visual arts. A well-known or new artist in the arts industry, such as an visual artist

(painter, sculpture or writer), can announce the next singer or dancer (performing artist)

on stage, perhaps linking a specific artwork to the performance, thus creating exposure

to both visual and performing artists. Those who are participating or are involved with the

arts (for example, those buying production tickets and books), can be sold packaged arts

deals. These packaged arts deals can include discounted sales of other arts forms when

purchasing a specific arts item (for example, with the purchase of a painting, the festival

visitor can pay 20% less for the purchase of any production ticket).

Further, it is recommended that arts festival organisers and managers need to

collaborate in their efforts to contribute more effectivily and efficiently to the arts through

the development of mutually managed plans and strategies. Arts festivals differ to some

220

extent in terms of their contribution to the arts. Those that are succesful in contributing to

the arts more than do other arts festivals, can assist others to do so also. For example,

where one festival is perceived to contribute more to the marketing of the arts, the other

festivals can learn from the successful festival in terms of marketing and can perhaps

adopt their own marketing campaigns in order to improve their marketing contribution.

The various festivals can make then a positive contribution to each other and to their

shared purpose of promoting the arts. This is recommended to better their combined

contribution to the arts overall, and not just the arts contribution of individual arts

festivals, thus ensuring the continued existence of the arts through all arts festivals.

The majority of festival visitors who attend arts festivals are from the same province

where the festivals are hosted. It is recommended that more effort should be made in

marketing and promoting the arts to provinces other than the one in which arts festivals

are situated. These marketing efforts may attract broader arts audiences, both local and

from further afield, to the arts festivals.

With the combined arts festival approach, socialisation at arts festivals (for example, the

beer tents, wine tasting booths and relaxations points) are also provided together with

the arts on offer for the festival visitors to enjoy while attending these events. However,

some festival visitors prefer the socialisation activities more than the arts themselves.

This can have an adverse impact on the arts festivals‟ contribution to the arts and on the

festival visitor‟s perceptions regarding the festivals‟ arts contribution. To minimise this

negative effect, it is recommended that the performing arts and visual arts are placed

around and between these socialisation points, where they can enjoy more exposure

and can improve the festival visitor‟s experience and perception regarding a festival‟s

arts contribution. This can be done through effective terrain planing where, for example,

singers and dancers can perform in front of the audiences while they enjoy something to

drink and/or eat, thus further enhancing the visitors‟ perceptions regarding contribution to

the performing arts of the festivals. The visual arts (painting, sculptures, books and arts

and crafts) can also be placed or exhibited in and around these socialisation points, thus

exposing visitors to the arts while they enjoy the conversation of family and friends.

Socialisation can then be used to lure the festival visitor to an experience of the arts,

stimulating involvement and ultimately enhancing their perception of the arts festival‟s

contribution to both arts forms.

It is recommended that arts festivals must improve their arts contribution, even though

they are perceived by the festival visitors as contributing to the arts. This can be done by

enhancing the identified contribution factors the arts festivals offer to the arts. The

221

following ways for arts festivals in contributing more effectivily and effeciently to the arts

are presented as means of exploring each identified arts contribution:

o To improve arts festivals‟ contribution to the arts emotionally, it is recommended

that the festivals must develop plans and strategies to stimulate the arts

participation of festival visitors, community members, artists and students, to

stimulate future arts participation and involvement. This can be done by providing

arts-related competitions, such as sketching, writing and painting competitions.

The festivals can also provide arts-related workshops, improving the attendee‟s

knowledge and skills regarding that specific arts form, for example, by creative

writing sessions or arts and craft workshops. Arts festival organising committees

and arts associations can be used to encourage community members to be part

of arts festivals and the planning thereof. Street theatre is a popular way of

encouraging the visitors to develop their involvement with the arts.

o As arts festivals make an educational contribution to the arts, it is recommended

that these festivals develop arts educational programs for community members,

artists and festival visitors. Arts festivals can bring these educational programs to

schools, to universities and arts associations, mentoring and teaching new and

existing arts skills and knowledge. As mentioned above, the arts festivals can

also provide public speeches, guided arts walks and visits to arts museums and

galleries, as an aid in educating the attendee‟s about the arts.

o It is recommended that arts festivals contribute more effectively to the arts

through their economic contribution. This can be done by providing more job and

revenue opportunities for local and even regionally or nationally-known

performing and visual artists. Perhaps a theme for arts exhibitions could be

adopted whereby painters can create more or new paintings, broadening their

skills together with providing them with an opportunity for extra income.

Additional revenue generated by the arts festival can be used for the

development of arts educational programmes and the maintenance of production

and theatre halls. It is possible that financial support for the arts and artists could

be supplemented for example, by providing subsidies for artists to create more

arts work. The provision of financial support to arts organisations can be provided

to form part in the arts festivals contribution to the arts, where the organisations,

in return, provide educational, marketing, quality, etc. contributions to the arts

using these funds, so broadening the arts contribution horizon of arts festivals.

o It is recommended that arts festivals contribute more to the quality of the arts by

establishing specific standards the arts forms must fulfil. It is also recommended

that the arts festivals must continually evaluate the quality of these art forms

222

according to the established standards. Arts festivals can guide the artsist in

delivering quality arts products (such as paintings, sculptures and books) and

activities (such as theatre, dance and, music productions) by providing

workshops in skill development and enhancement. The workshops offered will,

ultimately, better the quality of the artists and the work they present.

o The arts festivals are perceived to contribute most to the marketing contribution

of the arts. It is therefore recommended that research and strategies on

marketing are a continuous process at arts festivals to ensure the effective

exposure and awareness to the arts present at these festivals (for example, by

introduction of new and well established arts and artists of both the performing

arts and the visual arts). Further, it is recommended that the marketing strategies

of arts festivals should be equable for both the performing arts and the visual

arts. Arts festivals can also provide networking opportunities to artists, exposing

them to other arts forms and broadening their arts skills, creativity and innivation

through exchanging ideas and knowledge while marketing their arts products and

activities. This will ensure that the arts get sufficient appreciation and a more

successful marketing contribution from the arts festival, again improving the

image of the arts. Arts marketing atrategies (such as posters on streetpoles and

fences before and during the arts festival of both performing arts and visual arts)

can be implemented for greater arts exposure and awareness.

o It is recommended that arts festivals contribute more to the growth and

development of the arts. To accomplish this, arts festivals need to support and

develop the arts infrastructure, they need to introduce new arts and artists. They

can also stimulate the participation of festival visitors in the arts industry,

evidencing to them that the arts as an career can be enjoyed, thus leading to the

growth of the number of artist and arts. It is also recommended that the

placement of arts products, such as music, dance and theatre production CDs

and DVDs and books should be in areas where numbers of festival visitors

gather on the festival grounds. This can lead to increased sales of these arts

products, further stimulating the development and production of arts-related

products.

6.6 RECOMMENDATIONS FOR FUTURE RESEARCH

It is recommended that the actual contribution of an arts festival to the arts be measured

and not just the perceived contributions that these festivals may have according to the

festival visitors.

223

Although this is a new measurement design, it is recommended that the questionnaire

be standardised, which will assist in the evaluation of perceived contribution of arts

festivals to the arts.

It is recommended that future research on this topic be conducted at other arts festivals,

including English-language arts festivals, to enable comparative studies to be made.

Research on the actual arts involvement of arts festival attendees (their activities and

spending relating to their arts involvement) should be conducted in greater depth.

A study to measure contribution to the arts by other arts-related products, for example,

museums, theatre, galleries, could be undertaken by adapting the questionnaire to

measure the contribution it makes to that specific art form.

It is recommended to determine why the festival visitors visit these festivals and cluster

them according to their motivation. This will give a clear indication to whether the festival

visitors visit the arts festivals for artistic purposes or do they attend them for the

sociolisation.

224


















trends, 18(1):3-21.








225







392.





2012.














592 p.





226


research, 30(1):7-30.























forum, 16(2/3):1-21.

227





228

BIBLIOGRAPHY

APPENDICES

229

APPENDIX A:

QUESTIONNAIRE

KKNK SE BYDRAE TOT DIE KUNSTE

VOLGENS U PERSEPSIE TOT WATTER MATE DRA KKNK BY TOT DIE BEVORDERING VAN KUNSTE

Evalueer die volgende stellings:

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KKNK SE BYDRAE TOT UITVOERENDE KUNSTE (TONEEL, DANS & MUSIEK)

a KKNK inspireer mense om akteurs,dansers en sangers te word. 1 2 3 4 5

b KKNK moedig mense aan om meer teater, musiek en dans produksies by te woon. 1 2 3 4 5

c KKNK het ŉ invloed dat mense by kunsverenigings aansluit (bv. dans en teater groepe) 1 2 3 4 5

d KKNK dra by tot ŉ toename in kaartjieverkope van dans-, teater- en musiek-produksies. 1 2 3 4 5

e KKNK dra by tot meer werksgeleenthede vir individue binne die toneel-, dans-, musiek-bedryf. 1 2 3 4 5

f. KKNK dra by tot ŉ meer stabiele inkomste vir individue binne die toneel-, dans-, musiek-bedryf. 1 2 3 4 5

g KKNK dra by tot ŉ toename in CD en DVD verkope van toneelstukke, dans en musiek. 1 2 3 4 5

h KKNK se keuringsvereistes dra by tot kwaliteit musiek- dans- en teater-produksies. 1 2 3 4 5

i Die sangers/akteurs/dansers by KKNK skep ŉ kwaliteit ervaring van uitvoerende kunste tydens die fees 1 2 3 4 5

j KKNK verbeter die kwaliteit van akteurs, sangers en dansers 1 2 3 4 5

k KKNK dra by tot die ontwikkeling van akteurs, dansers en sangers se vaardighede. 1 2 3 4 5

l KKNK verbeter mense se kennis oor die uitvoerende kunste. 1 2 3 4 5

m KKNK bevorder navorsing binne die uitvoerende kunste. 1 2 3 4 5

n KKNK bevorder die beeld van uitvoerende kunste (toneel, dans en sang) in SA. 1 2 3 4 5

o Die bemarking van KKNK maak mense meer bewus van produksies in die land oor die algemeen. 1 2 3 4 5

p KKNK bemark bekende asook nuwe kunstenaars binne die uitvoerende kunste. 1 2 3 4 5

q KKNK bewerkstellig netwerk geleenthede vir uitvoerende kunstenaars. 1 2 3 4 5

r Weens KKNK het die aantal en verskeidenheid van produksies toegeneem in SA. 1 2 3 4 5

s KKNK se bestaan het aanleiding gegee tot die ontwikkeling van ander kunstefeeste in SA. 1 2 3 4 5

t KKNK dra by tot ŉ toename in die vervaardiging van produksie/musiek CD’s en DVD’s. 1 2 3 4 5

u Weens KKNK is daar ŉ groei in die aantal akteurs/dansers/sangers wat die mark toegetree het. 1 2 3 4 5

v KKNK se finansiële ondersteuning dra by tot ŉ groei in produksies. 1 2 3 4 5

w KKNK ontwikkel infrastruktuur vir teater, dans en musiek produksies. 1 2 3 4 5

KKNK SE BYDRAE TOT VISUELE KUNSTE (SKILDERYE, BEELDHOUWERK, FOTOGRAFIE &

LITERATUUR)

x KKNK inspireer mense om skilders, beeldhouers, fotograwe en skrywers te word. 1 2 3 4 5

y KKNK moedig mense aan om meer kunsuitstallings, kunsmarkte, kuns-stalletjies of boek-uitstallings by te woon. 1 2 3 4 5

z KKNK het ŉ invloed dat mense by kuns-klubs aansluit (bv. boek-klubs, fotografie-klubs, ens) 1 2 3 4 5

aa Weens KKNK is daar meer mense wat in visuele kuns belê. 1 2 3 4 5

bb KKNK skep meer werksgeleenthede aan visuele kunstenaars (skilders/beeldhouers/fotograwe/skrywers) 1 2 3 4 5

cc KKNK dra by tot ŉ meer stabiele inkomste vir skilders, beeldhouers, fotograwe en skrywers. 1 2 3 4 5

dd KKNK moedig mense aan om meer skilderye/beeldhouwerk/fotokuns te koop. 1 2 3 4 5

ee KKNK moedig mense aan om meer boeke te koop. 1 2 3 4 5

ff KKNK skep ŉ platform vir die beskikbaarheid van kwaliteit skilderye, beeldhouwerk, fotokuns en boeke. 1 2 3 4 5

gg Skilders, beeldhouers en skrywers by KKNK skep ŉ kwaliteit ervaring van visuele kunste 1 2 3 4 5

tydens die fees.

hh KKNK bevorder die kwaliteit van skilders, beeldhouers, fotograwe en skrywers. 1 2 3 4 5

ii KKNK dra by tot die ontwikkeling van die vaardighede van skilders, beeldhouers, fotograwe en skrywers. 1 2 3 4 5

jj KKNK verbeter mense se kennis oor die visuele kunste. 1 2 3 4 5

kk KKNK bevorder navorsing binne die visuele kunste. 1 2 3 4 5

ll KKNK bevorder die beeld van visuele kunste (skilderye, beelde, fotokuns, boeke) in Suid-Afrika. 1 2 3 4 5

mm Die bemarking van KKNK maak mense meer bewus van die SA kunswerke en literatuur oor die algemeen. 1 2 3 4 5

nn KKNK bemark bekende asook nuwe kunstenaars binne die visuele kunste. 1 2 3 4 5

oo KKNK bewerkstellig netwerk geleenthede vir visuele kunstenaars. 1 2 3 4 5

pp Weens KKNK het die aantal en verskeidenheid van kunswerke toegeneem in SA. 1 2 3 4 5

qq Weens KKNK is daar ŉ groei in die aantal skilders, beeldhouers, fotograwe en skrywers wat die mark toetree. 1 2 3 4 5

rr Weens KKNK is daar ŉ groei in die aantal skilderye, beeldhouwerke, fotokuns en literatuur 1 2 3 4 5

ss KKNK se finansiële ondersteuning dra by tot groei in visuele kuns. 1 2 3 4 5

tt KKNK ontwikkel infrastruktuur vir die uitstalling van visuele kuns. 1 2 3 4 5

1. Geslag Manlik Vroulik

2. In watter jaar is u gebore?

3. In watter dorp woon u?

4. Dui aan watter tipe kuns u verkies Uitvoerende kunste Visuele kunste

5. Kies slegs een gunsteling vorm van kuns Toneel Dans Musiek Skilderkuns Literatuur Fotografie Films Beeldhouwerk

6. Tot watter mate was u tydens u kinderjare aan die kunste blootgestel Min Redelik Baie

BEANTWOORD ASB DIE VOLGENDE VRAE

1. Beleef u dat KKNK alle kunsvorme op ŉ gelyke vlak bevorder? JA NEE

2.Maak KKNK die kunste meer toeganklik vir u? JA NEE

3.Inspireer KKNK u om ook ŉ vorm van kuns te beoefen? JA NEE

4.Het KKNK u kennis oor die kunste verbeter? JA NEE

5.Het die kwaliteit van kuns vir u oor die algemeen by KKNK verbeter? JA NEE

6.Het KKNK ŉ groter bewustheid by u geskep rakende die kunste? JA NEE

7.Het u hierdie jaar by die fees ŉ groter verskeidenheid van kunste beleef as voorheen? JA NEE

8.Het u tydens die fees spesifiek geld op die kunste spandeer? JA NEE

9.Ek beskou myself as ŉ kunsliefhebber? JA NEE

PERSOONLIKE KUNS BETROKKENHEID AANTAL

Hoeveel boeke het u tydens die fees aangekoop?

Hoeveel CD’s/DVD’s het u tydens die fees aangekoop?

Hoeveel skilderye en/of beeldhouwerke het u tydens die fees gekoop?

Hoeveel nuwe kunstenaars het u tydens die fees gesien optree?

Hoeveel dans produksies het u bygewoon?

Hoeveel kaartjies het u gekoop vir toneel-produksies?

Aan hoeveel kunsverenigings/klubs behoort u tans?

In die 18 jaar van KKNK se bestaan, hoeveel keer, insluitend 2012, het u die fees bygewoon?

Hoeveel ander kunstefeeste het u die afgelope 3 jaar bygewoon?

232

APPENDIX B:

LANGUAGE EDITING CERTIFICATES

6 November 2012

To Whom It May Concern

Editorial Certification This document certifies that the typescript entitled

"Visitors’ perceived contribution of South African arts festivals to the Arts"

was edited for proper English language usage, grammar, punctuation, spelling, and overall style by one or more of the highly qualified, native English-speaking editors at Ellis Educational Trust CC. Neither the research content nor the author’s intentions were altered in any way during the editing process. Documents receiving this certification should be English-ready for publication - however, the author has the ability to accept or reject our suggestions and changes. Typescript title: Visitors’ perceived contribution of South African arts festivals to the Arts Author(s): Pretorius, SC. Reference: NWU 211 980 63.

EM Ellis MBA (BSNsa), MBA (IMC, UK), NDip: Hot Mgt & Admin (Ports, UK), NDip:

Hot Mgt (Byo, Rhod)

Ellis Educational Trust CC

m e l l i s e l@ g m a i l . c o m F A X : 0 8 6 2 42 1 86 1

– 2 – November 6, 2012

1

Dear Mr / Ms

Re: Translation of abstract: Visitors’ perceived contribution of South African arts festivals to

the Arts [Besoekers se persepsie oor die bydrae van Suid-Afrikaanse kunstefeeste tot die kunste]

I hereby declare that the above-mentioned abstract was translated by me from English to Afrikaans. I am a professionally trained language practitioner.

Please feel free to contact me should you have any enquiries.

Kind regards

Cecile van Zyl

Language practitioner

BA, BA Honours, MA

Cecile van Zyl Language practitioner Cell: 072 389 3450 Email: [email protected]

18 November 2012

To whom it may concern

1 Gerrit Dekker Street

POTCHEFSTROOM

2531

16 November 2012

Ms Corné Pretorius

NWU (Potchefstroom Campus)

POTCHEFSTROOM

CHECKING OF BIBLIOGRAPHY

Hereby I declare that I have checked the technical correctness of the

Bibliography of the M.-dissertation of Ms Corné Pretorius according to the

prescribed format of the Senate of the North-West University.

Yours sincerely

Prof CJH LESSING